Join Rose Wylie and Melissa Blanchflower, curator of the artist’s critically acclaimed solo exhibition at the Serpentine Sackler Gallery in 2017, for the finissage of Lolita’s House at David Zwirner London.
Blanchflower will lead a guided tour of this exhibition of exuberant new paintings and works on paper by the celebrated British artist. “Few painters are more arrestingly, pleasingly odd,” Michael Glover writes in The Independent, “this show proves, at a stroke, quite conclusively, that . . . the future belongs to those women who have lived long enough to deserve it.”
The evening will include the launch of a special limited-edition zine published by David Zwirner Books to accompany the show. Titled Lolita’s House, the zine features Wylie’s animated brushstrokes on every page.
May 4–September 9, 2018
Marking the first-ever museum exhibition of Rose Wylie’s work in Spain, Rose Wylie: Hullo, Hullo . . . at the Centro de Arte Contemporáneo (CAC) in Málaga presents twenty-nine paintings. The works range in date from 1992 to 2017, and include both single and multipart paintings, the largest of which, Yellow Strip (2006), unfolds across five panels. The show has been curated by Fernando Francés, director of CAC Málaga.
The exhibition’s title comes from a recent painting, Hullo, Hullo, Following-on After the News (2017), and evinces the verbal and visual cadence of Wylie’s work. Recent solo exhibitions, including Horse, Bird, Cat at David Zwirner London in 2016 and Quack Quack at the Serpentine Sackler Gallery, London, in 2017, share the same staccato directness. Discussing her choice of title for the Serpentine exhibition with the gallery’s Artistic Director, Hans Ulrich Obrist, Wylie explained, "It was Dada, it was irreverent, and I like irreverence. It’s got a certain rhythm to it, it repeats. . . . There’s no need for translation. . . . Quack Quack in fact is an echo of what I think paintings do and why they have superiority and priority over text."
This spirit of spontaneity and openness is clear in Wylie’s exuberant compositions, which are wittily observed and subtly sophisticated musings on the nature of visual representation itself. In the artist’s idiosyncratic approach, which draws imagery from film, fashion, literature, mythology, newspapers, and sports, The Guardian’s critic Jonathan Jones recognizes that Wylie creates with "total freedom from any law of god, man or the Royal Academy." Likening her to twentieth-century predecessors, such as Henri Rousseau and Florine Stettheimer, who found renewal "in the bright colours and crude shapes of an art that seems artless," Jones sees in Wylie’s work "a way forward for painting in this century."
At CAC Málaga, Wylie’s paintings draw on an array of sources, from the "ack ack" anti-aircraft guns she remembers hearing as a child in London during World War II, to museum visits, tennis matches, and the actor Nicole Kidman. Like the subjects that populate Lolita’s House, her solo exhibition currently on view at David Zwirner London, these eclectic compositions reflect Wylie’s fascination with memory and the associations that become attached to it over time.
Rose Wylie: Lolita’s House
April 20–May 25, 2018
David Zwirner is pleased to present an exhibition of new paintings and works on paper by British artist Rose Wylie at the gallery’s London location. Loosely referencing a house that was constructed across the street from Wylie’s residence in Kent, England, in the 1970s in the prevalent style of the period and the neighbor’s teenage daughter who would often wash their car in the driveway, Lolita’s House continues the artist’s ongoing fascination with the shifting nature of memory and the multilayered external associations that become attached to it over time.
In the works on view, Wylie, who still lives and works in the same residence she has occupied for many years, revisits her impressions of that particular time and place several decades on. Her associative reconstructions meld fact and fiction, thus drawing her lived experience into dialogue with a web of external points of reference. As the artist notes, "The image became more potent through the multilayered exploration of how it looked; but any literary association with Nabokov’s Lolita was slight, since it was only her age and frequent visibility paraded through ‘dress’ and ‘on-view performance,’ which gave her the invented name."
Wylie creates paintings and drawings that at first glance appear aesthetically simplistic, not seeming to align with any recognizable style or movement, but on closer inspection are revealed to be wittily observed and subtly sophisticated mediations on the nature of visual representation itself. The layers of newspaper that line her studio floor are a frequent source of material for the artist, as she encounters images by chance while working. Drawing from such wide-ranging cultural areas as film, fashion photography, literature, mythology, news images, sports, and individuals she meets in her day-to-day life, Wylie paints colorful and exuberant compositions that are uniquely recognizable. The artist has acknowledged her great admiration for Philip Guston, whose late paintings likewise make use of an idiosyncratic visual lexicon, the directness of cartoonish figures, and a flattened perspective, but simultaneously betray a deep awareness of art history and painterly conventions.
The exhibition will be accompanied by a limited edition artist’s zine, published by David Zwirner Books.
Image: Rose Wylie, Yellow Girls I, 2017 (detail)
March 29–May 30, 2018
History Painting: Rose Wylie presents works dating from 2002 to 2017 by the British artist as part of a multisite solo exhibition at Plymouth Arts Centre and The Gallery at Plymouth College of Art in southwest England.
On view at Plymouth Arts Centre is a recent series by Rose Wylie based on the historic voyage of the Mayflower, which carried Pilgrims from Plymouth, England, to the New World in 1620. The paintings, which were created from 2015 to 2017, draw on Wylie’s memories of studying the Pilgrims as a child in the 1930s, and considers the changing interpretations of history.
Among other works at Plymouth Arts Centre are the large-scale painting Park Dogs & Air Raid (2017), first shown in the artist’s critically acclaimed solo exhibition Quack Quack at the Serpentine Sackler Gallery, London, in 2017. The painting relates both to Wylie’s own experiences in London during the Blitz of World War II and to the history of Plymouth, which suffered severe bomb damage in 1941. An interview with the artist by Hans Ulrich Obrist about the Serpentine exhibition is being screened as part of the presentation, as well as Ben Rivers’s film What Means Something (2015), a portrait of Wylie. Also included are some of the artist’s Film Notes paintings in reference to Plymouth Arts Centre’s seventy-year history as a gallery and cinema.
At The Gallery at Plymouth College of Art, the presentation focuses on Wylie’s depiction of the female form in works dating from 2002 to 2006, as well as selected self-portraits.
History Painting: Rose Wylie has been a long-term project for the exhibition’s curator, Ben Borthwick, who told Artlyst: "I have been talking to Rose about her work for over a decade . . . So when I started at Plymouth Arts Centre [as director] in 2014, this was one of the first exhibitions I commissioned. I knew Rose would be interested in Plymouth’s histories and myths and am delighted she has made a new cycle of paintings about the Mayflower to be shown with existing work on a range of themes that speak to Plymouth’s magnificent history and gritty present."
Wednesday, April 18, 5:30 PM
The Gallery at Plymouth College of Art
Join Melissa Blanchflower, curator of Rose Wylie's recent solo exhibition Quack Quack at the Serpentine Gallery in London, for a talk about the artist's work.
Thursday, May 17, 5:30 PM
Plymouth Arts Centre
Exhibition tour led by Ben Borthwick, artistic director and exhibition curator at Plymouth Art Centre, followed by a screening at 6:30 PM of two films chosen by Rose Wylie: Le Silence de la Mer (1949), and Sack Barrow (2011).
History Painting will travel to the Newlyn Art Gallery & The Exchange in Cornwall, England, where it will be on view from June 9 through September 15, 2018.
November 30, 2017–February 11, 2018
"Rose Wylie is why we need artists" states Time Out London's review of Quack Quack, the artist's solo exhibition at the Serpentine. For Jonathan Jones writing in The Guardian, "The freedom and courage of Rose Wylie shows a way forward for painting in this century."
Quack Quack featured paintings and works on paper dating from the late 1990s to the present day, including new works that were being exhibited for the first time. The exhibition was curated by Melissa Blanchflower.
Wylie often works from memory, drawing on cultural areas such as film, fashion, literature, mythology, the news, and people she meets; her colorful, exuberant compositions frequently merge political, social, and autobiographical elements. Quack Quack included a 2017 series of paintings of which two works—Park Dogs & Air Raid and Park Duck (both 2017)—had never been shown before.
London's Kensington Gardens, where Wylie recalls seeing dogfights in the sky as a child during the Blitz (the artist's older brothers taught her to recognize different aircraft), are the subject of Park Dogs & Air Raid, a new four-canvas painting created specifically for the Serpentine exhibition.
A catalogue on the occasion of the exhibition was published by the Serpentine Galleries and Koenig books.
David Zwirner is pleased to announce that British painter Rose Wylie has joined the gallery. Wylie creates paintings and drawings that on first glance appear aesthetically simplistic, not seeming to align with any recognizable style or movement, but on closer inspection are revealed to be wittily observed and subtly sophisticated mediations on the nature of visual representation itself. The layers of newspaper that line her studio floor are a frequent source of material for the artist, as she encounters images by chance while working. Drawing from such wide-ranging cultural areas as film, fashion photography, literature, mythology, news images, sports, and individuals she meets in her day-to-day life, Wylie paints colorful and exuberant compositions that are uniquely recognizable. The artist has acknowledged her great admiration for Philip Guston, whose late paintings likewise make use of an idiosyncratic visual lexicon, the directness of cartoonish figures, and a flattened perspective, but simultaneously betray a deep awareness of art history and painterly conventions.
Rose Wylie (b. 1934) studied at Folkestone and Dover School of Art, London, and the Royal College of Art, London, from which she graduated in 1981. Her work has been the subject of renewed critical attention in recent years, including solo presentations at Space K, Seoul (2016); Chapter, Cardiff (2016); Turner Contemporary, Margate (2016); Douglas Hyde Gallery, Dublin (2015); Städtische Galerie, Wolfsburg, Germany (2014); Tate Britain, London (2013); Haugar Museum, Tønsberg, Norway (2013); Philadelphia University of the Arts Gallery (2012); and Jerwood Gallery, Hastings (2012). The artist’s first exhibition at David Zwirner, London, Horse, Bird, Cat, was held in 2016, and in November 2017, Wylie will be the recipient of a major solo exhibition at Serpentine Sackler Gallery, London. In 2015, a painting by Wylie was included in the Royal Academy of Arts Summer Exhibition, for which she won the Charles Wollaston Award. Her work can be found in prominent collections throughout the United States, Europe, and Asia, including the Hammer Museum, Los Angeles; National Museum of Women in the Arts, Washington, D.C.; Space K, Seoul; Städtische Galerie Wolfsburg; and Tate Britain, London. In 2015, Wylie was elected a Senior Royal Academician. She lives and works in Kent, England.