21 April 2018 - 2019
On display at the Garden Museum, London:
Une seconde vie #1, 2017
Bronze, 175 x 40 x 68cm
February - January 2019
‘Artist in Residence’ at Pinsent Masons Law Firm
30 Crown Place, London, EC2A 4ES
4 May 2018
ART IN THE SQUARE MILE – Kate Gordon, Evening Standard
Nick Hornby Sinta Tantra
Sculptor Nick Hornby and painter Sinta Tantra met at the Slade in the early 2000s. Both are best known for their site-specific work and installations in the public realm: Hornby for his sculpture commission at Glyndebourne last year, and Tantra, a British artist of Balinese descent, for her 2017 Folkestone Triennial painted building and a 330-yard painting at Canary Wharf.
Occasionally they collaborate. You can now follow a trail of their joint work across the City, from Finsbury Avenue Square through to 201 Bishopsgate, The Broadgate Tower and Exchange House. Tantra’s colours are inspired by a sort of 18th-century Farrow & Ball, while Hornby’s work references Picasso and Matisse.
Until May 25. Viewings Monday to Friday 10am-4pm. Visit broadgate.co.uk
– Kate Gordon, Evening Standard
9 Apr 2018
Nick Hornby on Magic and Method
“I’m not a digital native—I started my undergraduate at the exact point that analogue was transitioning to digital.” Nick Hornby discusses synthetic works, objectivity and truth. Words by Robert Shore
14 March - 21 April 2018
MAGIC & METHOD: NICK HORNBY | EDUARDO PAOLOZZI | DOUGLAS WHITE
Frestonian Gallery, London
12 March 2018 - 25 May 2018
Hornby Tantra | Collaborative Works III : Proposals
Multiple sites across Broadgate, London
Commission by Broadgate / British Land
Monday 26th February 2018
Harlow Art Trust has appointed British sculptor Nick Hornby to design a new work for Harlow’s new Enterprise Zone. It will be located at the heart of the new Harlow Science Park – home to Anglia Ruskin University’s Medical Technology Innovation Centre.
The brief for this sculpture was to create a focal point that resonated both with the narrative of Science and Technology as well as Harlow’s cultural legacy. Hornby’s practice is ideally suited to this brief – as he appropriates art historical references and creates new hybrid objects using digital technologies.
Harlow Art Trust was founded in 1953 and is one of Britain's leading regional arts organisations. Over the past fifty years the Trust has built up a remarkable collection of sculpture by some of the foremost names in modern and contemporary art, which attracts visitors to Harlow from all over the world. To walk around the centre of Harlow is to experience a large-scale open-air art museum in which can be seen work by Auguste Rodin, Barbara Hepworth, Henry Moore, Ralph Brown, Lynn Chadwick, Lee Grandjean, Elizabeth Frink amongst many others. [...]
PRESS RELEASE 20 February 2018
Pinsent Masons announces fourth Artist in Residence: Sculptor Nick Hornby International law firm Pinsent Masons has appointed sculptor Nick Hornby as its new ‘Artist in Residence’.
Hornby will be working on site in the firm's London headquarters, interacting with all staff and creating sculptural interventions throughout the building for the duration of 2018. This will include a series of displays in the main foyer and in client areas. He previously displayed one of his works in the firm in 2017.
David Isaac, Partner and head of Pinsent Masons' Art Committee says:
"I'm really pleased to offer our colleagues and visitors the opportunity to enjoy Nick Hornby's work once again. Nick immerses himself in his subjects and his sculptures will be inspired by interactions and conversations with all our staff. Nick is extremely accessible and his work was extremely popular last year. I know there will be significant interest in working with Nick again."
"I'm delighted to have this opportunity to work within the context of a law firm, seeing the building as both an ad-hoc studio space as well as an exhibiting opportunity - testing artworks in this non-gallery setting. I look forward to spending time talking with lawyers and learning from their vast collective knowledge – what it means to judge an artwork."
The residency will last for 12 months, and was organised with the assistance of independent art consultant Maggie O'Regan. [...]
Symposium: 10/11/2017 (09:00-18:30)
Great Hall King's Building Strand Campus
"Modern Classicisms: Classical Art and Contemporary Artists in Dialogue," Kings College.
Panel: Ruth Allen, Christopher Le Brun (chair), Nick Hornby, Minna Moore Ede and Elizabeth Prettejohn.
What is it about Greek and Roman art that still captivates the modern imagination? How can contemporary art help us to see the classical legacy with new eyes? And what can such modern-day responses – situated against the backdrop of others over the last two millennia – reveal about our own cultural preoccupations in the twenty-first century?
The art of ancient Greece and Rome is not just a thing of the past, it also exists in the present day – whether as ideal, antitype or point of departure. During the 2017–2018 academic year, King’s College London is hosting a range of events exploring contemporary responses to classical visual traditions: these will include an exhibition at Bush House in in March/April 2018, organised in collaboration with the Musée d’Art Classique de Mougins, and designed to coincide with our co-hosting of the AAH Annual Conference.
Our opening Modern Classicisms workshop on 10th November sets out to explore the contemporary relevance of classical visual traditions: by bringing together art historians, collectors, critics and artists, we aim to examine what the classical artistic legacy means from the vantage-point of contemporary artistic practice. Confirmed artists, speakers and respondents include: Dalya Alberge, Ruth Allen, Tiphaine Besnard, Bruce Boucher, James Cahill, Léo Caillard, Michael Craig-Martin, Matthew Darbyshire, Charlotte Higgins, Brooke Holmes, Nick Hornby, Jessica Hughes, Patrick Kelley, Polina Kosmadaki, Christopher Le Brun, Lisa Le Feuvre, Christian Levett, Isabel Lewis, Simon Martin, Robin Osborne, Christodoulos Panayiotou, Elizabeth Prettejohn, Marc Quinn, Mary Reid Kelley, Alexandre Singh, Michael Squire, Caroline Vout and Sarah Wilson.
Sculptor Nick Hornby in Conversation with Composer Nico Muhly
Photo by Nick Ballon.
Nick Hornby and Nico Muhly met in 1999, in the Garden of Cosmic Speculation at Portrack House in Scotland. The garden was conceived by Maggie Keswick and Charles Jencks (who are also rumored to have coined the term “postmodern”). Almost twenty years on, Hornby and Muhly have a conversation about performativity and the landscape. Hornby currently has an exhibition of sculpture in the gardens of Glyndebourne Opera House in Lewes, and Muhly’s Marnie operan, based on the famous Hitchcock film of the same name, gets its world premiere at the English National Opera in London in November.
NICO MUHLY: Unlike many world-famous opera houses, Glyndebourne is equally well known for its position in the natural world that surrounds it. There is also a codified sense of ritual around attending a show there.
NICK HORNBY: Nico, I agree. But first I’m distracted by the word “natural.” Glyndebourne isn’t “natural”—picnicking in black-tie isn’t an everyday affair (I normally picnic in jeans and spill ketchup down my shirt). Glyndebourne is leisure that’s hard work. But this is no bad thing. I’m a sculptor and I love hard work . . . these objects take months and months of design, and cutting and sanding.
Young artist Nick Hornby reconsiders master works to create contemporary sculptures on a grand scale.
BY MAXWELL WILLIAMS PORTRAIT BY NICK BALLON PRODUCED BY MICHAEL REYNOLDS
“I have an ambivalent and ambiguous relationship to David,” says London-based artist Nick Hornby. “I think most people do. It’s completely amazing, but it’s also quite cheesy.”
Given the amount of art history infused in the sculptor’s work, it’s surprising to hear him talk about the venerated Renaissance work in these terms. His solo exhibition on the grounds of the Glyndebourne opera house is rife with interpretations of Rodin and Brancusi, and, of course, nods to Michelangelo’s heroic David. In fact, the show, which runs until next spring, is called “Sculpture (1504 – 2017)”—1504 being the year David was completed.
The works, which are placed inside and out of the opera house, are grand in scale and scope. One outdoor piece, for instance, is a totemic bronze that reveals Rodin’s The Age of Bronze (1875) figure from one angle and a Brancusian abstraction from another. Another, God Bird Drone, reveals the silhouette of David from a single point if you were to fly above it.
And then there’s the work that recently appeared in a group show called “The Curators’ Eggs” at Paul Kasmin Gallery this summer, which is part of a series derived from Matisse’s cutouts, which Hornby hopes will materialize into a stand-alone show.
Still, Hornby maintains a healthy skepticism about the historical narrative of the works he’s drawing from. And that suspicion comes from firsthand experience. When he was a younger artist, Hornby spent long hours drawing in the Victoria & Albert Museum’s Cast Courts—a room filled with plaster versions of historical sculptures. He was eventually shortlisted for a commission at the V&A because of his reputation for taking various sculptures and putting them together. Though he didn’t get the commission, it nevertheless solidified his line of inquiry into historical coalescence. But it didn’t salve his frustration with the entire historical through-line.
In fact, seeing famous moments boiled down to one or two people and artworks, such as Picasso with Cubism or Pollock with Abstract Expressionism, has reinforced Hornby’s uneasiness about art history.
“A lot of this is about my struggle with grand narratives,” he says. “Of course, it’s a fairy tale... The grand narratives single out individuals who are hailed as geniuses. I question the author. I think meaning is contingent on context. But, on the other hand, Picasso was a fantastic artist. So was Rodin and Michelangelo and Barbara Hepworth and Louise Bourgeois.”
The Curators' Eggs
Paul Kasmin Gallery, 293 Tenth Avenue
July 12 – August 18, 2017
Contemporary Sculpture Fulmer Fulmer Common Rd, Slough SL3. Open by appointment
Mask (Picasso i), 2017, Contemporary Sculpture Fulmer, UK
PANEL TALK: Queer British Art with Tate's curator - Clare Barlow and Tim Redfern at Wilderness Festival
Tate Britain Presents Queer British Art and Identity Sunday Papers Live Culture Section
Talk 17:55-18:40 on Sunday Aug 6.
Clare Barlow, curator at Tate Britain will be joined by performer Tim Redfern, artist Nick Hornby and activist Paris Lees to discuss the diverse connections between sexuality, gender identity and art to uncover a past which is richer and stranger than you might think.
Clare Barlow is curating the exhibition ‘Queer British Art, 1861-1967’ at Tate Britain (until 1 October 2017) where she is Assistant Curator, British Art 1750-1830. Clare grew up in the 1980s and came out as lesbian at the age of 25. She completed her PhD at King’s College London and worked at the National Portrait Gallery before joining Tate Britain. Her research focuses on art, gender and sexuality and she has appeared in arts documentaries for the BBC and Channel 4.
Nick Hornby, Love Art London,Crane.tv. Video Interview:
Une seconde vie #1, 2017 at The Garden Museum:
If you have visited the Museum in the last few weeks you will have noticed a sculpture in the Christopher Bradley-Hole garden. The sculpture is by British Sculptor Nick Hornby, entitled Une seconde vie #1.
Its shape is derived from a Cutout of a leaf by Henri Matisse from 1951. During the last decade of his life Henri Matisse became increasingly unwell from cancer and was physically restricted to his bedroom-studio. There he developed his now famous method of cutting out – using only white paper and gouache and a pair of scissors.
Hornby explains the inspiration behind the piece: “Matisse was too unwell to leave his room – he wanted to bring the garden indoors and so made cutout after cutout of leaves. Matisse transformed paint and paper into a world of plants, animals, figures, and shapes. One leaf cutout stood out as making a face – which I used to form this sculpture.”