White Cube at Frieze New York


5 –8 May 2016
Stand location: C57

At this year’s Frieze New York, White Cube will feature a range of artists including Larry Bell, Theaster Gates, Mona Hatoum, Damien Hirst, Imi Knoebel, Jac Leirner, Josiah McElheny and Sarah Morris.

Sarah Morris has produced a new wallpainting titled Dr. Caligari which is part of a new series of work that is titled ‘Abu Dhabi’. Morris’ wallpainting takes its name from the influential German Expressionist silent film, The Cabinet of Dr. Caligari (1920), where authority is deeply questioned and rendered graphically as twisted. Morris, through her films and paintings, constantly places the viewer in an ambivalent and complicit position in relation to power. Throughout her practice, the artist has created large-scale, expansive, site-specific wallpaintings that extend the geometry of her paintings and create a new language of place and politics.

Frieze New York
Randall’s Island Park
New York

+1 212 463 7488




Actress, Felicity Dean | Photographer, Jillian Edelstein


I was lucky enough to be at the Fishlove shoot on the day Felicity Dean participated in these now iconic campaigns. I was there to interview one of the founders, Greta Scacchi. This particular series has been captured by photographer, Jillian Edelstein.

Fishlove is a series of striking images which is now at the heart of a global movement
 to protect our seas from destructive fishing practices. The portraits, featuring celebrated individuals with fish, have succeeded in raising significant awareness for campaigns such as Marine Conservation Society, OCEAN2012, Deep Sea Coalition, The End of the Line, and Blue Marine Foundation.

The collapse of fish stocks is an environmental catastrophe that is seen by scientists as being as important as climate change. But the good news is that it is a catastrophe that can be easily averted. With the right political measures over the next five years, our seas can survive for generations to come.

See how you can help.


V&A | You Say You Want a Revolution? Records and Rebels 1966 – 70


You say you want a revolution

Well, you know
We all want to change the world”
The Beatles, Revolution, 1968

This major exhibition from the V&A will explore the era-defining significance and impact of the late 1960s upon life today. From global civil rights, multiculturalism, environmentalism, consumerism, computing, communality to neoliberalist politics, the world we live in has been vitally influenced by five revolutionary years 1966 – 70. You Say You Want a Revolution? Records and Rebels 1966 – 70 will investigate the upheaval, the explosive sense of freedom, and the legal changes that took place resulting in a fundamental shift in the mindset of the Western world.
You Say You Want a Revolution? Records and Rebels 1966 – 70 will explore the way that youth culture catalysed an optimistic idealism, motivating people to come together and question established power structures across every area of society. More than 350 objects encompassing photography, posters, literature, music, design, film, fashion, artefacts, and performance that defined the counterculture will illustrate the way that a whole generation shook off the confines of the past and their parents, radically revolutionising the way they lived their lives.
Highlights on display will show the creative, social and legal outputs of revolutionary new ways of living. They will include underground magazines from Oz to the International Times; a shopping list written behind barricades during the 1968 Paris student riots; a moon rock on loan from NASA alongside the space suit worn by William Anders, who took the defining ‘Earthrise’ photograph on the Apollo 8 mission; a rare Apple 1 computer; an Ossie Clark costume for Mick Jagger; original artworks by Richard Hamilton; shards from Jimi Hendrix’s guitar; the suits worn by John Lennon and George Harrison on the cover of Sgt. Pepper’s Lonely Hearts Club Band and handwritten lyrics for Lucy in the Sky with Diamonds by the Beatles.
Martin Roth, Director of the V&A, says, “This ambitious framing of late 1960s counterculture shows the incredible importance of that revolutionary period to our lives today. This seminal exhibition will shed new light on the wide-reaching social, cultural and intellectual changes of the late 1960s which followed the austerity of the post-war years, not just in the UK but throughout the Western world. Our collections at the V&A, unrivalled in their scope and diversity, make us uniquely placed to present this exhibition.”
Objects are drawn from the breadth of the V&A’s varied collections, alongside important loans to highlight connections between people, places, music and movements across the UK, Europe and the USA. The exhibition will focus on particular environments that defined the cultural and social vanguard of the period, including Carnaby Street in London, clubs and counterculture, the Paris protests of May 1968, World Fairs including Montreal and Osaka, the Woodstock Festival of 1969 and alternative communities on the West Coast of America. Ideological connections will be made to the world of 2016, from the election battle to appoint the new president of the most powerful nation on earth to the rights of individuals everywhere to make a difference.
The collection of the cult radio presenter and musical tastemaker John Peel will provide a musical odyssey through some of the greatest music and performance of the 20th century from Sam Cooke’s A Change is Gonna Come to The Who’s My Generation to Jimi Hendrix live at Woodstock. Music will be played through Sennheiser headsets using innovative audio guide technology which adapts the sound to the visitor’s position in the gallery. Sound will be integrated with video and moving image, including interviews with key figures from the period including Yoko Ono, Stewart Brand and Twiggy, psychedelic light shows and seminal films including Easy Rider and 2001: A Space Odyssey to create a fully immersive and dramatic audiovisual experience.

Tracey Emin | I Cried Because I Love You


21 March – 21 May 2016

Hong Kong



Christie’s France is pleased to announce the third edition of its Handbags & Accessories auction which will take place in Paris on March 5th during Fashion Week. Each season, the sale features exceptional handbags, trunks and accessories from French Maisons such as Hermès, Chanel, Dior, and Louis Vuitton. Additionally, on March 17th in Dubai, in celebration of Christie’s 10th anniversary in the city, the auction house will hold its first sale of rare handbags in the region as part of the Elements of Style concept in conjunction with watches and jewellery.


Spectre | Auction at Christies | February








The live auction on 18 February is led by an Aston Martin DB10, one of the series of DB10s designed and engineered by Aston Martin exclusively for James Bond, Spectre, illustrated above. Most of the DB10s were modified for use in the filming of Spectre, but two of those produced were kept back as show cars, for display purposes only, and this is one of them. The car is expected to realise between £1,000,000 and £1,500,000 and is to date the only DB10 to be released for public sale by Aston Martin and EON Productions. This is the only car that includes a special plaque signed by Daniel Craig and was displayed at the world premiere of Spectre at the Royal Albert Hall, London. Aston Martin has been associated with the James Bond franchise for over 50 years, with the DB10 model featuring in the latest Bond film, Spectre.



London – Christie’s, EON Productions, Metro-Goldwyn-Mayer Studios and Twentieth Century Fox Home Entertainment present a rare opportunity to acquire memorabilia from the 24th film in the James Bond series this February to celebrate the release of Spectre on Digital HD, Blu-rayTM and DVD. A live auction and an online-only sale will together present 24 lots of Spectre memorabilia direct from the archives of EON Productions, with unique donations from Daniel Craig, Sam Mendes, Michael G. Wilson, Barbara Broccoli, Jesper Christensen and Sam Smith. The online-only sale will offer 14 lots and open for bidding from Tuesday 16 to Tuesday 23 February at christies.com/spectreonline.

The invitation-only live auction will be held on Thursday 18 February at Christie’s King Street and will offer 10 lots, accessible to all via both internet and telephone bids. All proceeds from the auctions will benefit Médecins Sans Frontières (MSF), other charitable organisations and the United Nations Mine Action Service (UNMAS).




Dame Ellen Terry, an English stage actress and widely considered one of the finest Shakespearean actresses

Ellen Terry composed Four Lectures on Shakespeare with her friend and colleague Sir Henry Irving in the early years of the twentieth century.

After a sold out run during our inaugural Playhouse season, Eileen Atkins returns with her witty and intriguing insight into Shakespeare’s women as first told by Ellen Terry.

Join award-winning actress and screenwriter Dame Eileen Atkins as she weaves together those lectures, stories from Ellen’s life and excerpts from Shakespeare’s plays in a dazzling and lucid dramatisation.

normalAtkins performs over ten parts including Juliet, Beatrice and Viola, and revisits the roles to shed fascinating new light on female characters who have sometimes been construed as dull, submissive or one-dimensional.

Eileen Atkins Atkins joined the Royal Shakespeare Company in 1957 and has an extensive list of credits for film and television which include Cranford, for which she won a BAFTA and an Emmy, Upstairs, Downstairs and Gosford Park. She was most recently seen on stage in All That Fall at the Jermyn Street Theatre.

Images courtesy of BBC and Shakespeares Globe


Ellen Terry with Eileen Atkins’ runs at Shakespeare’s Globe from:

11 January – 13 February

Adapted & performed by
Eileen Atkins

£10 standing
£15 – £48 seats
£62 premium tickets

BOX OFFICE 020 7401 9919

Book online here

“Atkins is sublime. She is an artist at the peak of her powers. Nothing she does goes for nothing. It’s inspiring. ”
★ The Financial Times

Electronic Superhighway (2016-1966)


29 January – 15 May 2016

Whitechapel Gallery

A major exhibition bringing together over 100 works to show the impact of computer and Internet technologies on artists from the mid-1960s to the present day.

The exhibition title is taken from a term coined in 1974 by South Korean video art pioneer Nam June Paik, who foresaw the potential of global connections through technology. Arranged in reverse chronological order, Electronic Superhighway begins with works made at the arrival of the new millennium, and ends with Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Key moments in the history of art and the Internet emerge as the exhibition travels back in time.

The exhibition features new and rarely seen multimedia works, together with film, painting, sculpture, photography and drawing. From Cory Arcangel, Jeremy Bailey, James Bridle, Constant Dullaart and Oliver Laric, to Roy Ascott, Judith Barry, Lynn Hershman Leeson and Ulla Wiggen, over 70 artists spanning 50 years are included.

Book now

Electronic Superhighway
 is accompanied by a fully illustrated catalogue available in January 2016.

Park Seo-Bo | Ecriture 1967-1981

white cube

15 January–12 March 2016
‘My work is […] related to the oriental tradition of space, the spiritual concept of space. I am more interested in space from the point of view of nature. Even though my paintings may represent an idea about culture, the main focus is based on nature […] I want to reduce the idea and emotion in my work to express only that. I want to reduce and reduce – to create pure emptiness.’ Park Seo-Bo (2006)
White Cube Mason’s Yard presents an exhibition of paintings by Korean artist Park Seo-Bo, the first solo exhibition of his work in the UK. Alongside Lee Ufan, Park Seo-Bo is widely considered one of the leading figures in contemporary Korean art. Credited as being the father of the ‘Korean Monochrome Movement’ (Dansaekhwa), he is best known for his ‘Ecriture’ series of paintings which he began in the late-1960s. This exhibition traces the origins of these works and includes 16 paintings made between 1967–81.
Born in 1931 in Yecheon, Gyeongbuk, South Korea, Park Seo-Bo was part of a generation that was deeply affected by the Korean Civil War (1950–53) which divided the country into North and South. After experimenting with Western abstraction, particularly the style of ‘Art Informel’ with which he became familiar during his time in Paris in 1952, Park began to explore a more introspective methodology that had its origins in Taoist and Buddhist philosophy and also in the Korean tradition of calligraphy. This focus was shared by his contemporaries including Chung Sang-Hwa, Ha Chong-Heun, Chung Chang-Sup and KIM Whanki, who together loosely formed the ‘Dansaekhwa’ movement.
Also known as ‘Myǒbop’ in Korean, which translates as ‘law of drawing’ or the ‘way of drawing’, Park’s ‘Ecriture’ paintings eliminate any form of gesture, focusing instead on a sense of dynamic continuity through repeated pencil lines incised into the painting’s monochrome surface. Executed in a single sitting, before the paint has time to dry, the works reflect a sense of immediacy and totality; time, space and material underpin all of his work.
The paintings demonstrate the persistence of the monochrome since, despite these regular incisions into the white paint, from a distance they appear to be only one colour, or perhaps, an empty painting. Park’s use of white is fundamental, since it acts as a signifier of immateriality in Korea, often representative of sun and light. Conceived in a fleeting moment, Park’s calligraphic marks reflect his interest in reaching a sense of ‘pure emptiness’, an attempt that is made afresh with each new painting.
Park Seo-Bo graduated from the painting department of Hong-Ik University in Seoul in 1954 and received an Honorary Doctorate from Hong-Ik in 2000. He has been widely lauded throughout his career for championing Korean art, and was awarded the Silver Crown Cultural Medal in Korea in 2011. His work has been exhibited internationally, including the Venice Biennale (2015, 1988), Samsung Museum of Art, Seoul (2014), Busan Museum of Art (2010), Portland Museum of Art, Oregon (2010), Singapore Art Museum (2008), Kunsthalle Wien, Vienna (2007), The Miyagi Museum of Art, Sendai (1993), Tate Liverpool (1992), Brooklyn Museum, New York (1981), and Expo ’67, Montreal (1967). His work is included in the collections of the Hirschorn Museum and Sculpture Garden, Washington, Solomon R. Guggenheim Museum, New York, M+, Hong Kong, Guggenheim Abu Dhabi, UAE, The National Museum of Contemporary Art, Seoul, and the Museum of Contemporary Art, Tokyo, amongst others.
Admission to White Cube is free.
White Cube Mason’s Yard is open Tuesday–Saturday 10am– 6pm.
25–26 Mason’s Yard St. James’s London SW1Y 6BU United Kingdom +44 (0)20 7930 5373.
Twitter: @_whitecube
Instagram: @whitecubeofficial
Facebook: White Cube

Undressed: A Brief History of Underwear | Sponsored by Agent Provocateur and Revlon


‘Tamila’ lingerie set from the Agent Provocateur Soirée collection
S/S 2015
Photographer: Sebastian Faena, Model: Eniko Mihalik

16 April 2016 – 12 March 2017

Next year the V&A will tell the story of underwear design from the 18th century to the present day, considering the practical and personal, sensory and fashionable and exploring underwear’s roles of protecting and enhancing the body. Undressed: A Brief History of Underwear will display more than 200 examples of underwear for men and women, highlighting the enduring themes of innovation and luxury, from the custom-made, such as a rare example of home-made ‘stays’ worn by a working woman in England in the 18th century to pieces by designers including Stella McCartney, La Perla, Rigby & Peller and Paul Smith.

The exhibition will explore the relationship between underwear and fashion, notions of the ideal body, and the ways that cut, fit, fabric and decoration can reveal issues of gender, sex and morality. It will consider health and hygiene and address the design and technological advances central to the development of underwear. On display will be corsets, crinolines, boxer shorts, bras, hosiery, lingerie and loungewear alongside contextual fashion plates, photographs, advertisements, display figures and packaging. Highlights will include long cotton drawers worn by Queen Victoria’s mother; an 1842 man’s waist belt used on the wearer’s wedding day; a 1960s Mary Quant body stocking; a pair of gender neutral briefs by Acne; a sheer dress by Liza Bruce famously worn by Kate Moss; and flesh-coloured leggings decorated with a mirrored glass fig leaf by Vivienne Westwood.

Undressed: A Brief History of Underwear will explore the vigorous debate about corsets and how to make them supportive and healthy. A restrictive 1890s whalebone and cotton corset with a waist under 19 inches in circumference will be displayed alongside x-rays and illustrations revealing the dramatic impact on the body of wearing such a garment. Conversely, corsets were also recommended to improve medical conditions and posture. The exhibition will include a lightly boned 1895 version made from aertex, an innovative cellular woven cotton, showing an alternative side to tight lacing. An austerity corset made from paper during World War One and a waist training corset, a slimming tool endorsed by celebrity figures such as Kim Kardashian, will also be on display.

The development of the bra, which enabled movement and mobility, will be traced throughout the 20th century, showing early examples including a lace and satin bust bodice from 1910. Bras, girdles and shapewear will illustrate the importance and variety of support; from striking advertisements for latex corsetry by 1930s brand Chamaux, to a 1950s Playtex rubber girdle and Spanx designs from 2010.


Trompe l’oeil corset dress, designed by Antonio Berardi, S/S 2009
Worn by Gwyneth Paltrow

Examples of lingerie, women’s underwear and nightwear made from sensual or luxurious fabrics will be on display. A remarkably detailed pair of 1930s silk chiffon knickers, decorated in lace with a hunting scene, will show how the finest fabrics and exceptional craft skills contribute to making luxury underwear. Garters and hosiery will be shown including floral embroidered stockings worn by Queen Alexandra, wife of King Edward VII, Schiaparelli nylon stockings from 1953 and embroidered stockings exhibited at the Universal Exhibition in Paris in 1900.

The exhibition will explore practical and functional underwear. It will assess the types of fabrics used, from a 1850s cotton chemise, examples of artificial silk from the 1920s and a contemporary set of modal pants for women by cheekfrills, playfully embroidered with the days of the week. The importance of performance will be presented in displays of maternity wear, of underclothes designed to keep the wearer warm or cool, or comfortable and supported during sport. Highlights will include a homemade bust bodice for a nursing mother in the 1820s, a contemporary set of maternity briefs and bra by Hot Milk, a 1970s pair of men’s red string briefs by Brynje of Norway, a ‘Cyclist Corset’ and its box from 1900, and a 1990s sports bra from Marks and Spencer. The importance of fit will be shown in a focus on men’s underwear that includes the packaging for a pair of David Beckham for H&M briefs from 2012, and a display figure for Y-front pants dating from the 1950s. These objects illustrate the way that underwear advertising often plays to the appeal of a youthful, fit, sexually attractive body.

Garments devised to lift, separate or exaggerate parts of the anatomy and to provide a structure for the fashionable shape of the day will be shown. Rare 18th-century hoops will be displayed alongside crinolines and bustles. Some were designed in response to consumer demands for more practical undergarments which did not compromise movement, such as an ingenious collapsing bustle, presented alongside its original advertising materials. The use of underwear to add volume to the body in other contexts will be shown through displays of men’s briefs by aussieBum from 2015, designed to enhance the genitals, and a woman’s push-up bra from the 1990s. A series of coloured humorous stereoscopic images of the hazards of wearing crinolines will also be on display.

The exhibition will also demonstrate how underclothes and nightclothes morphed into lounge wear; dressing gowns were transformed into informal garments for home entertaining such as tea and hostess gowns. The exhibition will include an 1840s man’s dressing gown, a silk evening dress by Paul Poiret from 1911 which anticipated the chemise dress of the 1920s, a 1970s kaftan for home entertaining, a chic 1930s jump suit by the London fashion house Baroque and embroidered lounge pyjamas from the 1920s. A woman’s pink Juicy Couture tracksuit from 2004 and a man’s T-

shirt and pant set by Sibling (s/s 2013) illustrate the continuing desire for comfort at home and a blurring of the line between underwear and outerwear, public and private.

Many designers are fascinated by the relationship between underwear and outerwear, and underwear and the body. Garments on display will show how designers have challenged accepted ideas about private and public, gender, sex and nudity. Underwear is by definition worn beneath other clothes. While shirts, chemises and petticoats were sometimes partially revealed before the 20th century to indicate quality and the wealth of the owner, today social and cultural changes mean exposed underwear is a common sight. The exhibition will include a Calvin Klein crop top and briefs worn with low-slung hot pants, and a beautiful, transparent and an embroidered muslin dress worn with lace knickers, designed by John Galliano for Givenchy haute couture (s/s 1996).

Corsetry and lingerie are often designed to be alluring, seductive or playful, to enable wearers to express their desires and fantasies. Undressed: A Brief History of Underwear will explore the tempting nature of underwear through objects ranging from a vivid pink silk 1890s corset, to 1930s bias cut nightwear, contemporary pieces by Cadolle, Fifi Chachnil and Agent Provocateur, and an exquisite negligée by Carine Gilson, like that worn by actress Bérénice Marlohe in the film Skyfall. All will illustrate that the choice of underwear for the bedroom remains intrinsically personal, and has been throughout the centuries.


Man’s top and pants, designed by Sibling, S/S 2013

Much as underwear can be revealed, it can also be designed with the intention to transform or provoke. Alongside Vivienne Westwood’s ironic flesh-coloured leggings there will a skin-tight laced cocktail dress by Jean Paul Gaultier from 1989, a delicate lingerie dress by Ellie Saab (s/s 2011), a Dolce & Gabbana dress featuring a large cage crinoline (s/s 2013) from their Sicilian Collection, and Antonio Beradi’s monochrome dress (s/s 2009), worn by Gwyneth Paltrow, featuring a trompe l’oeil corset which reveals the underwear worn beneath.


http://www.vam.ac.uk/undressed | #vamUndressed