2 Feb 2008
THE ARTIST MAY CONSTRUCT THE WORK 
Lisson Gallery hosts an exhibition of new work by Lawrence Weiner, one of the most significant and influential artists of his generation. This will be Weiner’s second solo show at the Lisson Gallery (the first was in 2005) and will coincide with the artist's first major US retrospective AS FAR AS THE EYE CAN SEE at The Whitney Museum of American Art, New York, from November 2007 to February 2008, traveling to MOCA, Los Angeles, in spring 2008 (13 April to 14 July 2008).

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Lawrence Weiner
6 February – 15 March 2008
Lisson Gallery
29 Bell Street
LONDON
NW1 5DA

Opening hours: Monday - Friday 10am - 6pm, Saturday 11am - 5pm

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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column