ART BRUT GLOBAL
08.05.20 - 29.05.20 (Phase I)
18.06.20 - 10.07.20 (Phase II)
03.08.20 - 24.08.20 (Phase III)

Open now is ART BRUT GLOBAL – a three-phase online initiative from New York’s Outsider Art Fair.

Featuring unique works from alternative galleries worldwide, the first phase presents canonical 20th century artists, from Adolf Wölfli to Martín Ramírez. The Gallery of Everything has contributed material by these two respected authors, as well as by James Castle, Aloise Corbaz, Madge Gill, Augustin Lesage and Carlo Zinelli.

The second phase, New Discoveries, features works by over fifty international artists, all of whom have been introduced to the field within the last three years. The Gallery of Everything has contributed material by Olga Frantskevich, Ezekiel Messou, and Johnson Weree.

The third and final phase, Here and Now, features sixty eight accomplished living artists from around the world. The Gallery of Everything has contributed material by Kwame Akoto (Almighty God), ION BÂRLĀDEANU, Alan Constable, Hiroyuki Doi, Francis Marshall and Bob Parks.

To view the artworks, please click HERE for Phase I, HERE for Phase II and HERE for Phase III.

For a selection of additions to the Art Brut Global initiative, available directly from The Gallery of Everything, please click HERE.

DOUBLE PROTECTION
1-54 NEW YORK (ONLINE)
04.05.20 - 31.05.20

Abu Bakarr Mansaray  ARTSY

Johnson Weree

 ARTWORKS


DOUBLE PROTECTION IS A VISUAL EXPLORATION OF PRIVATE BELIEF-SYSTEMS AND SURVIVAL THROUGH THE PRACTICES OF TWO AFRICAN EMIGRÉ ARTISTS.

LIBERIAN-BORN JOHNSON WEREE CREATES FIGURATIVE TALISMANS IN AN INFORMAL STUDIO WITHIN HIS ADOPTED HOMELAND, WHILE ABU BAKARR MANSARAY’S MONUMENTAL DEATH-MACHINE DESIGNS HAVE GARNERED CRITICAL ACCLAIM SINCE THEIR INCLUSION IN THE VENICE BIENNALE.

TOGETHER THEY SPEAK TO AN UNDERSTANDING OF THE MODERN WORLD WHERE ART-MAKING IS BOTH A SOURCE OF COMFORT AND STRENGTH.

PLEASE CLICK HERE FOR OUR ARTSY PROFILE AND AVAILABLE WORKS.

TO VIEW OUR 2018 HAITIAN EXHIBITION, INCLUDING 1-54 LONDON, PLEASE CLICK HERE.

THE DEEP                                                        VIRTUAL TOUR 
05.07.20 - 30.08.20

JULIAN MARTIN ARTWORKS          

TERRY WILLIAMS

ARTWORKS          


The Gallery of Everything presents THE DEEP: an exploration into the vocabulary of two of the most unusual non-verbal artists working in the contemporary sphere today.

Julian Martin and Terry Williams are longstanding members of Arts Project Australia. Their respective practices, nurtured at this ground-breaking Melbourne institution, evidence how atypical art-makers mesh seamlessly into the widest cultural circles.

Little else in the contemporary visual conveys still lives like the pastels of Julian Martin. The artist’s three-dimensional reductions are expressed through planes of continuous colour: a distinct format, seemingly unfussed by classical parameters of abstraction.

Martin’s distillation of everyday subjects is similarly refined. The borders are fixed, the detail denied. His approach speaks to the essentials of neuro-recognition. For despite an apparent (and personal) minimalism, Martin’s harmony of texture and depth draws us, as viewers, into what would otherwise be a private three-dimensional unseen.

The subject matter of Martin’s drawings - tools, letters, vehicles, people - spreads thick with the volume of pastel stick. The emotional messaging is contained in (and by) this vital ingredient. It lends his surfaces a sculptural affinity, recalling the blues of Yves Klein, whereby pigment powder is held to the paper by virtue only of layers beneath.

Terry Williams’ soft sculpture bears witness to its own inevitable collapse. Fabrics are bound, threaded and folded in awkward assembly. Commonplace items are replicated and upholstered. The resultant shapes - from ambiguous to haphazard - grant passers-by entry into an altered state, where the physical and the optical collide.

Squishiness itself is an unlikely revolutionary format. Yet for Williams, as for Louise Bourgeois, careful combinations of fabric and form lead to wry commentary. Solidity recedes and a superfluid narrative emerges; if the panoply of sagging houseflies, oceanographers and birthing mammals denies us insight, we can still grab or squeeze.

For Williams’ orchestra of figures and formations commands such a different dialect. As in the volumes of other studio artists, like the widely curated Judith Scott, this opus is clearly a meaningful something else. Whether theme or architecture decide Williams’ felts, velvets and silks, or whether, as the work suggests, it is on a first come first served basis, the artist’s empathy lies within his elegant mismatch. The rest is entirely up to us.

THE DEEP takes its inspiration from The Museum of Everything 4: a large-scale 2012 exhibition which examined the then misunderstood phenomenon of independent assisted studios for artists and makers with communication and/or learning disorders.

To understand this material better, the catalogue’s author suggested, we must consider it as another art world - unbothered by the noise and conditioning of the mainstream. It was a great invisible, like the vast under-ocean, with a distinct population and visual.

What makes Julian Martin and Terry Williams so timely is their total embrace of the self. THE DEEP unites them not only for their own physical proximity (they live and work in the same city), but because they embody the haptic spirit of profound artistic trust.

The work featured in THE DEEP comes from the artists and through the artists. It urges us to reject our pre-existing criteria and recognise the world as irreconcilably diverse.

I am not what I am, I am what I do with my hands.
Louise Bourgeois
 

The Gallery of Everything would like to thank Arts Project Australia and Sim Luttin for their help in producing this exhibition.

 

THE FOLDED FORMS OF GEORGE E OHR
06.02.20 - 09.02.20

NOMAD ST. MORITZ
CHESA PLANTA, MULINS 2
7503 SAMEDAN, SWITZERLAND [ MAP ]
 

GEORGE E OHR ARTWORKS      

PRESS RELEASE

BROCHURE

 

 

In the late 1800s, from his home in Biloxi, Mississippi, George E Ohr revolutionised ceramics.

The clay pots of this self-taught potter were precise and prolific. Their radical shapes and modern glazes marked an important shift in three-dimensional vessel making. As a body of work, they challenged the art establishment and cultural conventions of their day.

In his lifetime, Ohr’s beautiful, yet experimental oeuvre, failed to find its audience. When it was rediscovered in the 1960s, Ohr was heralded as a pioneer of modernist making.

Ohr’s astonishing abstracted forms were soon being collected and championed by the likes of David Whitney, Andy Warhol and Robert Rauschenberg - as well as the artist Jasper Johns, who regularly depicted his personal collection of George E Ohr pots in his paintings.

George E Ohr’s vessels can be seen on display at the Victoria and Albert Museum (London), the Metropolitan Museum (New York) and the Museum of Modern Art (New York).

AUTOBIOGRAPHIC
12.01.20 - 15.03.20

CARLO ZINELLI        ARTWORKS BIOGRAPHY

VALERIE POTTER

       ARTWORKS

BIOGRAPHY

AUTOBIOGRAPHIC                                                                VIRTUAL TOUR 
12.01.20 - 31.05.20

CARLO ZINELLI  ARTWORKS BIOGRAPHY

VALERIE POTTER

 ARTWORKS

BIOGRAPHY

 

The Gallery of Everything presents AUTOBIOGRAPHIC: an examination into the image/text diary aesthetic of two key artmakers from the non-academic canon.

CARLO ZINELLI is the celebrated Italian autodidact, introduced to la Collection de l’Art Brut by Vittorino Andreoli, and championed by André Breton and Jean Dubuffet.

VALERIE POTTER is the British illustrator and textile artist, whose idiosyncratic drawings and tapestries were curated by art historian Roger Cardinal and collector Monica Kinley.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, PLEASE CLICK HERE.

 

 

AUTOBIOGRAPHIC has been made in collaboration with La Fondazione Culturale Carlo Zinelli (ITALY), LA COLLECTION DE L'ART BRUT (SWITZERLAND) and Jennifer Lauren Gallery (UK).

THE MEDIUM'S MEDIUM AT FRIEZE MASTERS

For available works, please click HERE. 

For the Press Release, please click HERE.

THE MEDIUM'S MEDIUM
SPIRITUALIST ART PRACTICES FROM THE TURN-OF-THE-CENTURY AND BEYOND

The Gallery of Everything
29.09.19 - 22.12.19
Frieze Masters [Booth G20]
02.10.19 - 06.10.19

VIRTUAL TOUR 

 
Marguerite Burnat-Provins
MARIAN SPORE BUSH
FLEURY-JOSEPH CRÉPIN
MADAME FAVRE
OLGA FRÖBE-KAPTEYN
MADGE GILL
MARGARETHE HELD
ERNST JOSEPHSON
HILMA AF KLINT 
NINA KARASEK
JOSEF KOTZIAN
EMMA KUNZ
AUGUSTIN LESAGE
RAPHAËL LONNÉ
HEINRICH NÜSSLEIN
VICTOR SIMON
FRANTIŠEK JAROSLAV PECKA
AUSTIN OSMAN SPARE
JAN ŠVANKMAJER
Eva Švankmajerová
SHANNON TAGGART
AGATHA WOJCIECHOWSKY
HENRIETTE ZEPHIR

 

 

The Gallery of Everything presents THE MEDIUM’S MEDIUM - a two-part exploration into spiritualist and mediumistic art practices, from the 19th century to the present day.

This survey features drawings and paintings by a diverse range of authors - from established name to newer (re)discoveries - and includes material which is now acknowledged as a significant influence on the development of 20th century art.

THE MEDIUM’S MEDIUM opens at the Gallery of Everything on Sunday 29th September with a contemporary installation, featuring the seance photography of Shannon Taggart, channeled paintings by filmmaker Jan Svankmajer and his wife the painter Eva Svankmajerova, plus a commentary by multi-disciplinary artist Tony Oursler, whose Imponderable collection revolved around his own lifelong fascination with mysticism. 

THE MEDIUM’S MEDIUM continues at Frieze Masters, opening on Tuesday 2nd October, with an installation of early 20th century masterworks by such artists as Marian Spore Bush, Fleury-Joseph Crepin, Heinrich Nusslein, Augustin Lesage, Victor Simon, Austin Osman Spare - and the Czech spiritualist František Jaroslav Pecka, whose hypercolour spirit portraits will be available for sale for the first time in Europe.


For Frieze Masters walkthrough, click HERE.

For available works, please click HERE.

For the press release, please click HERE.

 

 

ASAFO                                                                                     VIRTUAL TOUR 
28.07.19 – 22.09.19

PRESS RELEASE                     DIGITAL INSTALLATION

In the 17th century, on the coast of what is now modern-day Ghana, the Fante people developed a distinctive tradition.

They organised themselves into the Asafo: military groups with their own respective numbers, symbols and designs. The flags created by these artists and image-makers commenced an extraordinary visual practice, today considered one of the most vivid and celebratory of 20th century Africa.

Asafo flags have long inspired artists, curators and designers. Notable advocates include Smithsonian director Gus Casely-Hayford and contemporary artist Kerry James Marshall. Asafo flags are included in the collections of the National Museum of African Art (Washington), the Metropolitan Museum of Art (New York) and Quai Branly (Paris).

ASAFO at The Gallery of EVERYTHING features vintage flags from a number of key collections, including that of author and enthusiast Peter Adler. Dates range from the turn of the century until the 1960s.

'Asafo Flags: Stitches Through Time', a history of Asafo flags presented by Heni Talks and narrated by Gus Casely-Hayford, will be screened throughout the exhibition.
To preview the video, click here.

To contact the Gallery of Everything about available works, please click here.

 

 

Studies in Verberation                   VIRTUAL TOUR 
 

ACM
JULIUS BOCKELT
PRESS RELEASE
 
 

A cosmic auditory resonates through the work of the two artists. One maker reclaims apparatus manufactured for the transmission of sound. The other takes sound, as it exists for him, and transforms it into the objectified line.

From a formal perspective, little connects them. Yet their physical formats contain a sense both of future and memory, of observation and recollection. It is as if, under the gaze of the viewer, they react as few artworks do. They communicate.

ACM is a pen name, acquired for and acknowledged by the artist’s closest circle. It denotes a practice, a private relationship. Yet the acronym serves to blur further his new archaeology. Like the work, the worker rebuts simple definition.

Dig and there is disclosure: a childhood, a family, an education. The artist’s way is warm, yet the words shield. Verbal language tightens the throat, so form is language enough. It speaks of rejection and refusal, of reclaim and re-use.

Our senses complete these cities which are not. It is we who balance on the cheap white platforms. Creatures, perched above us, recall a forest invisible. The still air beneath holds bombs, macaws, memos and radio bands.

Modest fields of study fascinate JULIUS BOCKELT. This performative penman consumes his daily surround to assemble a silence. Tiny packets of light-handed lines track precise observations of phenomena. They echo his interior.

BOCKELT-time is malleable, suspended, distorted and stratified. These, his analyses, abide by idiosyncratic principles. They embed and channel sense-memory. They turn the fleeting  into ink on paper. We acknowledge art.

BOCKELT’s performances add further evidence. Bubbles give birth, breathe and breed. Dust assembled spins in servitude. It is the artist as a god of small places. We read and we listen. The awkward magnificence verberates.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, PLEASE CLICK HERE.

 

 

OF A LIFE/TIME
25.11.18 - 10.02.19

OLGA FRANTSKEVICH
EZEKIEL MESSOU
PRESS RELEASE
AVAILABLE WORKS
 

THE GALLERY OF EVERYTHING presents OF A LIFE/TIME, the first international exhibition of contemporary tapestries by Belarusian artist and storyteller, Olga Frantskevich. Exhibiting for the first time outside the Eastern Bloc, FRANTSKEVICH authors hand-woven episodes which recall a childhood of conflict through reminiscence and dream. A sense of urgency pervades the self-propelled practice. Today, as she enters her ninth decade, FRANTSKEVICH reclaims an intensely personal history for the collective memory - not with the pen, but with the needle.

Also on display, a group of diagram/drawings curated from the everyday discipline of EZEKIEL MESSOU. From his atelier in Benin, MESSOU has evolved an encyclopaedic inventory of repair. Portraits of sewing machines, draughted with ballpoint and lead, form this informal opus of difference and repetition. They bear witness to the restorative ability of their maker; to the balance between personal and professional practices; and to a life, remembered in mechanical memories – identity-stamped with pride, and for all to see.

To coincide with the exhibition and the resurgence of interest in textiles as a medium for expression and storytelling, The Gallery of Everything presents the talk CONFLICT TEXTILES BY ROBERTA BACIC. This free event takes place from 2pm to 3.30pm on Sunday 3rd February. Please RSVP to in@gallevery.com.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, PLEASE CLICK HERE.

ART + REVOLUTION IN HAITI                                                VIRTUAL TOUR 
23.09.18 - 18.11.18

CHARLES ANATOLE
CASTERA BAZILE
RIGAUD BENOIT
WILSON BIGAUD
MINIUM CAYEMITTE
WILMINO DOMOND
PRÉFÈTE DUFFAUT
JACQUES GOURGUE
HECTOR HYPPOLITE
NÉHEMY JEAN
EDGER JEAN-BAPTISTE
JOSEPH JEAN-LAURENT
WESNER LAFOREST
GEORGES LIAUTAUD
ADAM LÉONTUS
A LUSIMOND
ANDRÉ NORMIL
ANTOINE OBIN
PHILOMÉ OBIN
SÉNÈQUE OBIN
FERNAND PIERRE
LOUVERTURE POISSON
ROBERT SAINT-BRICE

 

AS PART OF ITS ONGOING INVESTIGATIONS INTO ALTERNATIVE ART-MAKERS OF THE 20TH CENTURY, THE GALLERY OF EVERYTHING INVITES YOU TO EXPERIENCE ART + REVOLUTION IN HAITI.

THIS IMMERSIVE EXHIBITION RECALLS THE MOMENT IN 1945 WHEN SURREALISM DESCENDED ON A FORMER SLAVE COLONY - AND REWROTE NOT JUST HISTORY, BUT ART HISTORY.

TO ILLUSTRATE THE STORY, THE GALLERY OF EVERYTHING PRESENTS RARELY SEEN PERIOD ARTWORKS FROM LE CENTRE D’ART D’HAÏTI ALONGSIDE ORIGINAL MATERIAL FROM THE PERSONAL COLLECTION OF ANDRÉ BRETON.

THE GALLERY OF EVERYTHING WOULD LIKE TO THANK ALL WHO HAVE HELPED SUPPORT ART + REVOLUTION IN HAITI, MOST IMPORTANTLY THE STAFF AND ARCHIVE OF LE CENTRE D’ART D’HAÏTI IN PORT-AU-PRINCE, HAITI.

To coincide with the final weekend of ART + REVOLUTION IN HAITI, THE GALLERY OF EVERYTHING PRESENTS a screening and talk with artist and curator Leah Gordon. This free event takes place from 2pm to 4pm on Saturday 17th November. TO ATTEND, PLEASE REGISTER HERE. On Sunday 18th November The Gallery of Everything also presents an all-day screening of IN THE EYE OF THE SPIRAL (2014) by Eve Blouin and Raynald Leconte.

For a selection of the archive documents featured in ART + REVOLUTION IN HAITI please click HERE. For a PDF of the publication please click HERE.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, PLEASE CLICK HERE.

FOR MORE INFORMATION ABOUT THE PROJECT, PLEASE DOWNLOAD OUR PRESS RELEASE.

 

YOU'RE NOT ONLY HUMAN                                                                 VIRTUAL TOUR 
12.08.18 - 16.09.18

LOUIS DEMARCO
TOMOYUKI SHINKI

The Gallery of Everything continues its programme of international contemporary making with
YOU'RE NOT ONLY HUMAN - a two-person display juxtaposing the philosophical aphorisms of Chicago text artist, LOUIS DEMARCO, with the kinetic combat graphics of wrestling devotee and Osaka native, TOMOYUKI SHINKI. TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

DOUBLE PROTECTION
START ART FAIR
12.09.18 - 16.09.18

Johnson Weree
Abu Bakarr Mansaray

DOUBLE PROTECTION IS A VISUAL EXPLORATION OF PRIVATE BELIEF-SYSTEMS AND SURVIVAL THROUGH THE PRACTICES OF TWO AFRICAN EMIGRÉ ARTISTS.

LIBERIAN-BORN JOHNSON WEREE CREATES FIGURATIVE TALISMANS IN AN INFORMAL STUDIO WITHIN HIS ADOPTED HOMELAND, WHILE ABU BAKARR MANSARAY’S MONUMENTAL DEATH-MACHINE DESIGNS HAVE GARNERED CRITICAL ACCLAIM SINCE THEIR INCLUSION IN THE VENICE BIENNALE.

TOGETHER THEY SPEAK TO AN UNDERSTANDING OF THE MODERN WORLD WHERE ART-MAKING IS BOTH A SOURCE OF COMFORT AND STRENGTH.

Les Movies d’Ion BÂRLĀDEANU // Halle Saint Pierre, Paris
01.06.18 – 01.07.18

ARTIST PAGE

PRESS RELEASE [EN]
PRESS RELEASE [FR]
 

The Gallery of Everything is pleased to announce a solo exhibition of works for sale by Romanian collage artist Ion Bârlādeanu. The exhibition will take place at Halle Saint Pierre in Paris in conjunction with their exhibition TURBULENCES DANS LES BALKANS from 1st June to 1st July 2018.

The makeshift open-air studio of Ion Bârlādeanu was discovered in a back-alley in Bucharest, Romania. Yet its proprietor, a modest and clandestine collagist, was unprepared for the acclaim which swiftly descended upon his once-secret art practice.

As social commentary, Bârlādeanu's anti-communist and anti-capitalist assemblages reveal a wry sense of humour and sharp political savvy. The brilliance lies in their maker’s visual flair, where impossible eye-lines and one-point perspectives coincide effortlessly with the high-gloss, the pornographic and the surreal.

Born in 1946 near the Moldavian border, Bârlādeanu spent much of his adulthood drifting. He worked as a farmer, a docker, a security guard and a grave-digger. Yet it was the violent reign of Nicolae Ceausescu, and its subsequent collapse in 1989, which indirectly inspired Bârlādeanu to create such a subversive and satirical body of work.

Bârlādeanu sees himself not as an artist, but as a maverick film director. In these, his CinemaScope movies, he both commands and controls. World-class actors and Romanian big-wigs collide, sexy ingenues divert the male gaze, Nazis lurk everywhere, cigarettes are currency, and disputes are settled with a sausage, a bottle or a gun.

Today Bârlādeanu's work is in notable museum and private collections. He is regularly included in international exhibitions, such as the 2015 Vienna Biennale, The Museum of Everything at Kunsthal Rotterdam in 2016 and Mona (Australia) in 2017/18, and Halle Saint Pierre (Paris) in 2018. He has been profiled in The Guardian and Le Monde.

All proceeds go to support the artist and the non-profit activities of The Museum of Everything. A limited edition publication will be available for sale at the venue.

For more information please email the gallery HERE or visit Halle St Pierre.

THE R&B FEELING // FILM 

THE R&B FEELING // OFFICIAL TRAILER

THE R&B FEELING // TRAILER

BOB PARKS 100% SPIRITUAL GIG 

THE BOB PARKS LIFE-STORY SHOW

 

 

 

 

THE R&B FEELING // FILM

  BOB PARKS 100% SPIRITUAL GIG   

 

 

 

 

 

THE R&B FEELING // TRAILER   THE R&B FEELING // OFFICIAL TRAILER  

THE FOLDED FORMS OF GEORGE E OHR
04.10.17 - 08.10.17

ARTIST PAGE

EXHIBITION CATALOGUE
PRESS RELEASE

The Gallery of Everything is proud to present THE FOLDED FORMS OF GEORGE E OHR as part of Sir Norman Rosenthal’s Collections at Frieze Masters, with artworks being offered to collectors for sale for the first time in the UK.

 
OHR ’S ORIGINALITY DESERVES A PLACE AMONG THE ARTIST’S GREATEST CONTEMPORARIES - THOMAS EAKINS, ALBERT PINKHAM RYDER, LOUIS SULLIVAN, MARSDEN HARTLEY, ALFRED STIEGLITZ AND PERHAPS EVEN FRANK LLOYD WRIGHT.Roberta Smith, New York Times

 

In the late 1800s, self-taught potter GEORGE E OHR revolutionised pottery.

From his home in coastal Mississippi, this eldest son of Alsatian immigrants developed an all-consuming practice and persona. OHR’s clay pots were precise and prolific. Their radical shapes and modern glazes marked an important shift in three-dimensional vessel making. As a body of work, they challenged not only the art establishment, but the cultural conventions of their day.

Yet OHR’s proto-abstract experiments proved too unpalatable for local taste. Throughout his lifetime, the entrepreneurial Mad Potter of Biloxi was ignored and his legacy unrecorded in the history of American art.

That changed seventy years later when the oeuvre was rediscovered by his descendants. Heralded as an unsung pioneer of modernist making, OHR was soon being collected and championed by David Whitney, Andy Warhol, Robert Rauschenberg and Jasper Johns. The latter was so enamored of the delicacy of OHR’s material form, he repeatedly depicted the work in his paintings.

Posthumously embraced by his peers, OHR and his pots now found their place in the Western canon. They reached a wide audience through the collections of the Metropolitan Museum of Art and the Smithsonian Museum. Frank Gehry designed a museum in OHR’s hometown of Biloxi in Mississippi. More recently, over thirty works were exhibited as part of a contemporary installation at the Carnegie International in Pittsburgh in 2013.

In her 1989 New York Times review, the critic Roberta Smith wrote "OHR invented his own brand of beauty, one so innately modern that it’s easy to understand why he wasn’t more appreciated in his own time. His liberations of color and form move beyond Art Nouveau and the Arts and Crafts Movement - with which his work has obvious links - and points toward the present. In particular, his exquisite, constantly shifting balances of randomness and control convey a kind of three-dimensional Automatism that presages ideas basic to Surrealism and Abstract Expressionism. And in a way that seems both modern and close to the experience of painting, OHR invites the viewer to rehearse the pleasure and release he felt in making his pots."

 
When I’m gone, my work will be prized, honoured and cherished.
GEORGE E OHR, artist

 

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

MIGUEL HERNÁNDEZ
1893 - 1957 (Spain)

BIOGRAPHY
The swirling dreamscapes of this elusive painter were first discovered in a Parisian gallery by art critic Michel Tapié. Hernández was a peasant-born anarchist from Spain, whose formative years in Brazil had helped fashion his radical socialist stance. After a lifetime of frontline activism, Hernández retired to Paris and dedicated himself to painting the memories of his youth and the beloved wife he had lost during their wartime struggles.

THE BOB PARKS LIFE-STORY SHOW                                          VIRTUAL TOUR 
24.09.17 - 12.11.17

ARTIST PAGE
ARTIST FILMS AND PERFORMANCES

EXHIBITION BROCHURE
Press Release

 
The most arresting solo exhibition I’ve seen this year.
Morgan Quaintance, Frieze Magazine

 

Known for his provocative durational performances, British-born artist BOB PARKS is on a lifetime search for the truth. Ancient cultures, military dictatorships, method acting, gospel music and his own late mother form the heart of his all-encompassing gesamtkunstwerk. Yet it was last yearʼs acclaimed BBC documentary, The R&B Feeling, which propelled the 70 year old wunderkind into the limelight.

Born in Southhall, BOB PARKS studied art at Leicester University before moving to Los Angeles in the 1970s. His immersion in West Coast performance art brought him to the attention of contemporaries like Chris Burden and Paul McCarthy; but it was his study of Konstantin Stanislavski at the Lee Strasberg Theatre Institute and Actor’s Studio which led him to fuse his daily life with a radical and pseudo-fictional version of himself.

In 1974 PARKS embarked on a series of citywide actions in the persona of an absurdist alter-ego, Bignose. Inspired by Indian mystic philosophy, the character alternated mundane rituals with verbal hysterias, while dressed in a yogic thong and playing an amplified fife. The performance was called: The hypocrisy of clothed men, painting naked women in Renaissance times, behind closed doors. It brought him to the attention of the infamous Chuck Barris, who invited him to perform on The Gong Show.

Holding down a series of menial jobs, PARKS became involved with South Centralʼs Starlight Church of God in Christ, where the African-American community introduced him to gospel and soul music, inspiring him to produce a series of portraits which revealed PARKS as a profound painter and image maker.

Shows in Australia, Europe and the UK were to follow. Yet at the age of 40, PARKS left Los Angeles (pop. 18 million) and returned to his parents’ home in Sway (pop. 3,448). He joined a local congregation, where his spiritual and creative practices became ever more interconnected.

In recent years, PARKS was included in 3rd Leggg at London’s ICA in 2011, and presented in a solo show at Grand Union in Birmingham in 2013. In 2016, BOB PARKS’ life and work was profiled in The R&B Feeling, co-directed by contemporary artist Nathaniel Mellors.

The Gallery of Everything is proud to present BOB PARKS’ first major UK retrospective, with paintings, drawings, sculpture and screenings which draw on his astonishing 40 year practice. The artist will be present throughout, giving performances every Sunday afternoon in the gallery.

 

He was unique, he wanted to lose control and to see what would happen.John Duncan, artist
 
BOB is a great artist and impossible to emulate without living his life - but he is genuinely inspirational. At a time when there’s an excess of influence and a lack of inspiration, BOB PARKS is a kind of antidote.
Nathaniel Mellors, artist
 
The embodiment of extraordinary!
Cheryl Jones, Grand Union (Birmingham)
 
If performance art were a competitive team sport, talent scouts would recognise in the British performance artist, painter and musician BOB PARKS that most lucrative and rare of qualities: natural ability. In his impulsive, unsettling and rapturous work, there is an easy, unaffected pairing of art and everyday life.
Morgan Quaintance, Frieze Magazine
 
We began to think, I don’t know, this guy is pretty weird.
Barbara T Smith, artist

 

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

 

PHOTOS OF BOB COURTESY OF SOPHIE EBRARD

FRANCIS MARSHALL AND THE BEAUTIFUL PEOPLE                      VIRTUAL TOUR 
02.07.17 - 10.09.17

FRANCIS MARSHALL
JOHNSON WEREE

EXHIBITION BROCHURE
Press Release

The sprawling studio of FRANCIS MARSHALL is an open-air theatre of wondrous and peculiar folk. For the population of this artistic endeavour are the random and every day, the curious and the bored, where family feasts and abandoned waiting-rooms squash their cast's bulbous bodies into tight-fitted space.

MARSHALL's people are beautiful people. They live in the wilderness, unattended for decades, and their skins share a patina of dirt, stink and sun. Like the leathery works of a time long forgot, MARSHALL's figures seem to mirror the personality of their maker. They yearn for another kind of life.

Championed by Alain Bourbonnais - the legendary founder of La Fabuloserie in Dicy, France - MARSHALL's work was first made public in 1973 at Atelier Jacob in Paris. Since then he has been exhibited at the Musee d’Art Modern (France), American Visionary Art Museum (USA) and Hayward Gallery in the seminal Outsiders exhibition in 1979.

Now MARSHALL's cast of outsiders are housed in a gallery for the first time after years of exterior imprisonment. The Gallery of Everything invites you to sit amongst FRANCIS MARSHALL's beautiful people, to wait for the bus, to drink soup and to ride discarded bicycles, until the summer sun fades.

THROUGH THE EYES OF THE VISIONARY REFUGEE ARTIST JOHNSON WEREE, ALL ARE BEAUTIFUL. WORKING FROM A COMMUNITY LIBRARY AND LIVING WITHOUT A PERMANENT HOME, WEREE'S PRACTICE INVOLVES DRAWING FROM EARLY MORNING UNTIL LATE AT NIGHT CREATING SURREAL AND OTHERWORLDLY PORTRAITS OF IMAGINED SUBJECTS.

AS CHILD IN LIBERIA WEREE SALVAGED DISCARDED MATERIALS FOR HIS CREATIONS. USING BATTERY FLUID FOR PAINT AND SCRAP WOOD FOR CANVASS, HIS LIMITED ACCESS TO MEDIA MADE HIM COME TO CHERISH COLOUR. NOW HE WORKS WITH BALLPOINT PENS, GELS, PENCILS AND PASTELS WITH A PALETTE OF UNLIMITED VIBRANCY.

WEREE'S SUBJECTS STARE UNAPOLOGETICALLY FROM THE PAPER, ARRESTING THE VIEWER WITH THEIR CONFIDENT PIERCING EYES. DOG NOSES SIT CLOSE TO THIN LIPS AND MENS HAIRLINES RECEDE. THE WOMAN OF WEREE'S WORLD HAVE BRIGHT BLUSHED CHEEKS AND WEAR MULTI-COLOURED EYE SHADOW. OFTEN FIGURES APPEAR WITHIN FIGURES, EMERGING FROM BUTTONHOLES OR LIKE A THIRD-EYE IN THE CENTRE OF A FOREHEAD.

WEREE'S PICTURES ARE UNLIKE ANY OTHERS. THOUGH THEY MAY FOLLOW THE COMPOSITION OF TRADITIONAL PORTRAITURE THEY ARE UNENCUMBERED BY IT'S LIMITATIONS.

LOOKING AT WEREE'S WORK MAY BE AKIN TO CONFRONTING A MIRROR THAT REVEALS AN ALTERNATE REALITY. ONE WHERE WE ARE CONFIDENT AND BOLD, DRESSED LIKE KINGS AND QUEENS - A WORLD OF IRREPRESSIBLE BEAUTY.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

 

ACTION, CAMERA!                                                                  VIRTUAL TOUR 
26.03.17 - 18.06.17

ION BÂRLĀDEANU
ALAN CONSTABLE

ACTION, CAMERA! displayed two distinct and separately curated solo shows, thematically linked by a fascination with the camera - or rather, the lack thereof. ION BÂRLĀDEANU and ALAN CONSTABLE have never been previously exhibited in Britain, where they are now represented exclusively by The Gallery of Everything.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

EXHIBITION BROCHURE
PRESS RELEASE

THIS IS DEDICATED TO THE ONE I LOVE
15.01.17 - 19.03.17

HIROYUKI DOI
NIGEL KINGSBURY
HARALD STOFFERS

THIS IS DEDICATED TO THE ONE I LOVE presented three contemporary artists whose practice evidences a visual communication with a key family member or companion.

HIROYUKI DOI, the Japanese draughtsman whose concentric mappings form a meditated response to the loss of his brother, the figurative oeuvre of NIGEL KINGSBURY who employs apparently simple mark-making to effortlessly transform the women who cared for him and for whom he cared, and HARALD STOFFERS whose lifelong practice of tiny paper shavings and vast confessional scrolls addressed to his mother, reveal the graphic inner life of a non-stop conceptual art-maker.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

EXHIBITION BROCHURE
PRESS RELEASE

JARVIS COCKER'S                                                                                    VIRTUAL TOUR 
JOURNEYS INTO THE OUTSIDE
+ WILSON SNOWFLAKE BENTLEY
25.09.16 - 01.01.17

CHOMO
ST EOM
HOWARD FINSTER
ABBÉ FOURÉ
KARL FRIEDRICH JUNKER
WC RICE
NEK CHAND SAINI

WILSON SNOWFLAKE BENTLEY
 

The Museum of Everything proudly announced the opening of London's first commercial gallery dedicated to non-academic artists and private art-makers, located in a former barber's shop at 4 Chiltern Street, London W1.

The inaugural exhibition took its name from the seminal TV series, JOURNEYS INTO THE OUTSIDE (Channel 4, 1998) by filmmaker Martin Wallace and musician and broadcaster Jarvis Cocker: a long-time fan of all things counter-cultural and a proud advocate for those who were once only dismissed as outsider artists. Together, these two pioneers invited British viewers to explore some of the worlds most astonishing art environments.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

EXHIBITION BROCHURE
PRESS RELEASE 1 + 2

 

JEAN DUBUFFET'S
LE FOYER DE L'ART BRUT
05.10.16 -  09.10.16

GASTON CHAISSAC
ALOÏSE CORBAZ
Fleury-Joseph Crépin
Miguel Hernández
Les Barbus Müller
Louis Soutter
Adolf Wölfli
 

THE GALLERY OF EVERYTHING RETURNED TO FRIEZE MASTERS AS PART OF SIR NORMAN ROSENTHAL'S COLLECTIONS SECTION OF THE FAIR. IT'S CHOSEN SUBJECT, JEAN DUBUFFET'S GROUNDBREAKING 1947 LE FOYER DE L'ART BRUT - THE EXPERIMENTAL PARISIAN SALON ORGANISED BY THE ARTIST WITH HIS GALLERIST, René DROUIN, AND ART CRITIC, MICHEL Tapié - MADE PUBLIC FOR THE VERY FIRST TIME THE UNTRAINED IMAGES AND IMAGE-MAKERS WHO WOULD FASCINATE DUBUFFET FOR THE REST OF HIS LIFE.

ARTISTS ON DISPLAY INCLUDED DRAUGHTSMAN GASTON CHAISSAC, PORTRAITIST ALOÏSE CORBAZ, POINTILLIST FLEURY-JOSEPH CRÉPIN, AUTODIDACT MIGUEL HERNÁNDEZ, PRE-HISTORIAN JUVA (PRINCE ANTONIN JURITZKY), SATIRIST Pascal-Désir Maisonneuve AND VISIONARY LOUIS SOUTTER - AS WELL AS THE INFAMOUS SWISS OUTSIDER ADOLF WÖLFLI AND SEVERAL RARE AND ANONYMOUS SCULPTURES KNOWN ONLY AS LES BARBUS MÜLLER.

THE GALLERY OF EVERYTHING WOULD LIKE TO THANK LA COLLECTION DE L'ART BRUT IN LAUSANNE FOR THEIR ASSISTANCE WITH THIS HISTORIC PROJECT.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

EXHIBITION CATALOGUE
PRESS RELEASE

MARTÍN RAMÍREZ + JOSEF KARL RÄDLER 
13.10.15 - 17.10.15

MARTIN RAMIREZ
JOSEF KARL RÄDLER

THE GALLERY OF EVERYTHING PRESENTED THE MEXICAN-AMERICAN MARTÍN RAMÍREZ (1895-1963) AT FRIEZE MASTERS 2015. THIS ABSTRACT DRAUGHTSMAN IS CITED AS AN UNSUNG HERO OF AMERICAN MODERNISM BY ROBERTA SMITH, LYNNE COOKE AND KASPAR KÖNIG.

ALSO ON DISPLAY, THE DELICATE PORTRAITS OF JOSEF KARL RÄDLER (1844-1917), A PORCELAIN PAINTER WHO SPENT HIS LATTER YEARS DOCUMENTING THE LIVES OF FELLOW PATIENTS AT AN OPEN-AIR CLINIC NEAR VIENNA. EXHIBITIONS INCLUDE: THE WELLCOME COLLECTION, LONDON (2009) AND THE WIEN MUSEUM, VIENNA (2010).

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

EXHIBITION BROCHURE
PRESS RELEASE

ACM + ANNA ZEMÁNKOVÁ 
16.10.13 - 20.10.13

ACM
ANNA ZEMÁNKOVÁ

THE GALLERY OF EVERYTHING PRESENTED ITS SECOND COMMERCIAL EXHIBITION AT FRIEZE MASTERS 2013, WITH A SELECTION OF MASTERWORKS BY TWO IMPORTANT NON-TRADITIONAL ARTISTS FROM THE 20TH CENTURY.

THE MINIATURE ARCHITECTURES OF MYTHIC FRENCH SCULPTOR ACM (B 1951) WERE PRESENTED FOR THE FIRST TIME IN BRITAIN, ALONGSIDE THE IMAGINARY BOTANICAL DRAWINGS AND EMBROIDERIES OF ANNA ZEMÁNKOVÁ (1908-1986), THE CZECH ARTIST WAS FEATURED IN THE 55TH VENICE BIENNALE 2013.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

EXHIBITION BROCHURE
PRESS RELEASE

WILLIAM EDMONDSON + CARLO ZINELLI 
10.10.12 - 14.10.12

WILLIAM EDMONDSON
CARLO ZINELLI

THE GALLERY OF EVERYTHING LAUNCHED ITS INAUGURAL EXHIBITION AT FRIEZE MASTERS 2012 WITH TWO MAJOR BODIES OF WORK BY LEADING FIGURES FROM THE ALTERNATIVE HISTORY OF ART.

A SELECTION OF RARE GOUACHES BY ITALIAN AUTODIDACT CARLO ZINELLI (1916-1974) WERE CURATED ALONGSIDE ICONIC LIMESTONE CARVINGS BY AFRICAN-AMERICAN SCULPTOR, WILLIAM EDMONDSON (1874-1951). FOR BOTH ARTISTS, IT WAS THE FIRST MAJOR COMMERCIAL PRESENTATION OF THEIR WORK IN BRITAIN.

TO CONTACT THE GALLERY OF EVERYTHING ABOUT AVAILABLE ARTWORKS, CLICK HERE.

EXHIBITION BROCHURE
PRESS RELEASE

ASAFO
28.07.19 – 15.09.19

In the 17th century, on the coast of what is now modern-day Ghana, the Fante people developed a new tradition.

They organised themselves into military groups, the Asafo; they gave their assemblies numbers; and they used their skill as designers and image-makers to commence a visual practice today considered as one of the most vivid and celebratory of 20th century Africa.

These are Asafo flags: “asa” meaning war, “fo” meaning people. They are symbols and allegories, conjured from folk tales and proverbs. They speak of resistance, yet seem a far cry from their colonial era. Ghana claimed its independence from British rule in 1957 and these memory cloths straddle those years. They speak of a time and a place.

Colour-coded in accordance with the companies’ numeration, Asafo flags contain a jazz all their own. They invent and appropriate in equal measure. They encapsulate ancient beliefs and black consciousness. They are the identifiers both for funerals and festivities. Their ingredients include oral history, mythology, heraldry and new technology.

Each allegory aims to express its message with pride, personality and pizzazz. A draughtboard becomes a landscape for battle. Fishermen harvest a catch, just as the company will scoop up its enemies. Crocodiles cooperate and share a single body to eat. In the upper corner, the Union Jack looks down: a mark of allegiance, perhaps also a premonition of change. For Asafo flags clearly do not fear the Empire’s mighty signifier.

Asafo flags have long inspired artists, curators and designers. Notable advocates include Smithsonian director Gus Casely-Hayford and contemporary artist Kerry James Marshall. Asafo flags are included in the collections of the National Museum of African Art (Washington), the Metropolitan Museum of Art (New York) and Quai Branly (Paris).

ASAFO at The Gallery of EVERYTHING features vintage flags from a number of key collections, including that of author and enthusiast Peter Adler. Dates range from the turn of the century until the 1960s.

To contact the Gallery of Everything about available works, please click here.