Here is our weekly crop of exhibited happenings in London condensed into three. In no particular order: Making It Up As We Go Along a twentieth birthday celebration of Dazed & Confused magazine, the excellently titled Your Garden is Looking a Mess Could You Please Tidy it up at PayneShurvell, and Elad Lassry (pictured) at the White Cube’s Hoxton Square plot.
Making It Up As We Go Along: 20 Years of Dazed & Confused Somerset House
Dazed & Confused magazine has been filling its pages with painful coolness and cult fashion for 20 years and to immortalise its notoriety and avant-garde irreverence of its vicenarian status there is a book and exhibition at Somerset House. The show boasts original artwork and a chronological journey through the publications history – beginning with the teaming up of Jefferson Hack and Rankin – and treating us with original artwork and imagery from Dazed’s high profile and infinitely talented contributors and interviewees like Bowie, Thom Yorke, David Lynch and Kate Moss. Showing until January 29, 2012.
Your Garden is Looking a Mess Could You Please Tidy it up PayneShurvell
It’s a curiously nondescript title for a show when you consider its wider thematic grounding is the classic Malboro cigarette flip-top packet designed by Philip Morris, a springboard concept for the artists set by curator and artist in his own right Andrew Curtis. The broad and individually fascinating spectrum of artists covers the likes of Peter Blake, Leon Chew (whose photographic diptychs of J.G. Ballard’s car are a personal highlight), Bruce McLean and Sarah Hardacre – the latter being only one of a few artists to directly reference this particular fag-pack vernacular. What the show does is question the wider connotation of branding and print when, exemplified by Marlboro reds, they are being removed from social circulation, be it by law or by the continued lament for the future of print. Showing until December 17.
Elad Lassry White Cube Hoxton Square
Tel Aviv born artist Elad Lassry presents his first solo show in London. His photographs perform like sculptures as the surfaces of the still life’s are captured with a sublime depth and tactile detail. They are also exquisitely framed and the precision of the fixed point of view together with the strange specificity of their scale, is pretty disarming. Frieze magazine quoted him as saying his photographs were “nervous.” Lassry expanded to say that he considered photography to be a means to an end, that the work is indeed sculpture that happen to be photographic – the nervousness is attributed to “when your comfort about having visual information, or about the knowing world, is somehow shaken.” On show till November 12.
- "Where’s my community?": Skin Deep and POC on the need for diversity in the film industry
- Jee-ook Choi conveys complex ideas using fine linework and muted colours
- Photographer Mehdi Lacoste on working with Actress
- French designer Victoire Coyon’s understated portfolio
- Unit Editions’ upcoming book on the unparalleled work of Paula Scher
- A creative composite of illustration: ten years of Christoph Ruckhäberle’s Lubok
- A new national identity: Smörgåsbord Studio rebrands Wales
- Graphic design gems: Chicago gang business cards from the 1970s and 80s
- Photographer Dougie Wallace captures the super rich spenders of “Harrodsburg”
- “Romance in a sort-of fantasy world”: photographer Molly Matalon's new work (some NSFW)
- Studio Michael Satter’s sophisticatedly simple graphic design portfolio
- Harry Pearce and Pentagram create a new identity for Pink Floyd’s record label