Gregory Crewdson Untitled 2006 Archival pigment print
58 1/2 x 89 1/2 in. (148.6 x 227.3 cm) (incl. frame)
© the artistFrom 23 April - 24 May 2008

Preview Tuesday 22 April 2008, 6-8pm

White Cube Mason's Yard is pleased to announce an exhibition of new photographs by Gregory Crewdson. In this latest body of work, shot over the past three years, the artist continues to explore the lush and ragged edges of small-town America. While much of his earlier work focused on character and drama, Crewdson now shows a greater awareness of atmosphere and setting. 

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23 March - 5 May 2007 PV March 22nd

White Cube Mason's Yard is pleased to present the work of Andreas Gursky in his first major solo exhibition with the gallery. Renowned for his large-format colour photographs charting themes of globalised society at work and play, Gursky's new production employs the latest digital technology to capture and refine an astounding compilation of detail on an epic scale.

The perspective in many of Gursky's photographs is drawn from an elevated vantage point. This position enables the viewer to encounter scenes, encompassing both centre and periphery, which are ordinarily beyond reach. For the Pyongyang series (2007), Gursky travelled to the Arirang Festival, held annually in North Korea in honour of the late Communist leader Kim Il Sung. The festival's mass games include more than 50,000 participants performing tightly choreographed acrobatics, against a backdrop of 30,000 schoolchildren holding coloured flip-cards that produce an ever-changing mosaic of patterns and images. Gursky's photographs describe, in panoramic dimensions, the incongruity of the brilliant colours and smiling faces of the performers within the controlled, totalitarian nature of the event.

A chamber designed to detect the smallest known particles in the universe is the subject of Kamiokande (2007). The actual scale of the neutrino observatory in the Mozumi mine, deep below the town of Kamioka-cho in Japan, is at first glance ambiguous. Containing 50,000 tons of purified water, surrounded by thousands of photomultiplier tubes protected by metallic spheres, its immensity becomes clear as two small boats float into view at the bottom of the image, each containing a figure gazing up at the vast architecture that engulfs them.

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Private View This Thursday  

White Cube Hoxton Square is pleased to announce an exhibition of new paintings by Eberhard Havekost. Over the past decade, Havekost has emerged as among the most innovative surveyors of figuration in contemporary painting.

A Havekost painting begins with a photograph, either one taken by the artist or an image that he has sourced from the media. Using a computer, Havekost might crop, stretch, skew or tweak the colours of the picture, or leave it almost untouched, before making an inkjet print that he uses as the direct source material for the final painting. To create the five-canvas work Background, B06 the artist took a series of photographs, all at low exposure, of some rubble and debris he came across in Berlin. He then adjusted the sense of space and levels of brightness, altering the hue and tone to give them an even, almost featureless light. Amid the slabs of wood and spiky wreckage, a slash of blue board emerges in every second picture, a motif that serves both to balance the canvases and highlight the subtle differences in each composition.

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Sorry for the lateness of this post we have been a bit slack at FAd hard to get back into the swing of thing still recovering from christmas/new year !!

Anyway we are back 100% so keep checking for listings, reviews and interviews.

Well this night me Jim, Kirsten, Wayne,Jasper and Holly all went to this PV but we kinda got split up so we didnt see the work all at the same time personally the upstairs didnt do it for tme a fallen palm tree etc but down stairs was great (but it is a great space) three huge Paintings which I could of looked at for ever had this weird feeling of being in them after a while - kinda like being in a desert or bleak terain kinda place- I completely forgot I was in the middle of London just round the corner from Fortnum&Mason great very calming - made me feel quite small.    

Another review, white cube press release

Private View 25 January 6-8pm  Aperiatur Terra  26 January - 17 March 2007

White Cube Mason's Yard is pleased to present a new body of work by the internationally acclaimed artist Anselm Kiefer. The exhibition will be staged both at White Cube Mason's Yard and the Royal Academy of Arts.

The title of the exhibition, Aperiatur terra, is a quotation from the Book of Isaiah, which translates as 'let the earth be opened' and continues 'and bud forth a saviour and let justice spring up at the same time'. These contrasting themes of destruction and re-creation, violent upheaval and spiritual renewal underpin much of Kiefer's work.

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24 November – 22 December 2006 Private View Thursday 23 November 2006, 6-8pm
White Cube, 25-26 Mason's Yard, London SW1Y 6BU White Cube Mason’s Yard is pleased to present an exhibition of new works by Mona Hatoum, her first solo exhibition in London since 2002.

In the ground floor gallery, Hatoum will present a new sculpture entitled Hot Spot that interrogates the notions of ‘boundaries’ through the depiction of a world map – an ongoing theme in the artist’s work. Hot Spot is a cage-like globe, approximately the size of a person’s height and arm span, which tilts at the same angle as the earth. Using delicate neon to outline the contours of the world on its surface, the work buzzes with an intense energy, bathing its surroundings in a luminescent red glow. Compelling and seemingly dangerous, Hot Spot suggests that it is not simply contested border zones that are political hot spots but an entire global situation: what Hatoum describes as a ‘world continually caught up in conflict and unrest’. The gallery will also contain another map in the form of a work on paper entitled Projection. A white on white work that uses cotton and abaca to create its image, Projection presents what to most viewers is an unfamiliar image of the world since it uses the ‘Peters’ projection, an egalitarian representation of land mass in true proportion as opposed to the more usual visualisation of the globe from a dominant northerly perspective. The image in Projection presents a positive-negative reversal, where the continents appear like fissures or gaps, as if they have been etched or corroded away.

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