John Giorno

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Open: Tue-Sat 10am-6pm

Broadbent House, W1K 3JH, London, UK
Open: Tue-Sat 10am-6pm


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John Giorno

London

John Giorno
to Sat 13 Nov 2021
Tue-Sat 10am-6pm
Artist: John Giorno

Almine Rech London, in collaboration with the John Giorno Foundation, is pleased to announce a solo exhibition by John Giorno, marking the artist’s first posthumous solo show in the UK.

Artworks

A HURRICANE IN A DROP OF CUM, 2015

Enamel on linen
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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SPENDING QUALITY TIME WITH MY MIND, 2018

Gloss enamel on canvas
141.3 x 141 cm 55 5/8 x 55 1/2 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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SIT IN MY HEART AND SMILE, 2019

Oil on linen
141 x 141.6 cm 55 1/2 x 55 3/4 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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NOW AT THE DAWN OF MY LIFE, 2019

Acrylic on primed linen
142.2 x 141.6 cm 56 x 55 3/4 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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YOU GOT TO BURN TO SHINE, 2019

Oil on linen
141 x 141.3 cm 55 1/2 x 55 5/8 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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LIVING IN YOUR EYES, 2019

Oil on linen
141 x 141.3 cm 55 1/2 x 55 5/8 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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JASMINE BURN, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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GARDENIA SWEETEN THE AIR SEDUCINGLY SLY, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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SNOW DAHLIAS SHARP AS CAT PISS, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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CHRYSANTHEMUMS ARE A GARLAND OF SKULLS, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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DIAL-A-POEM, 1968-2019

Telephone, computer with 293 digitally recorded poems, fom 135 poets and artists
12.7 x 27.9 x 27.3 cm 5 x 11 x 10 3/4 in
© John Giorno - Courtesy of Almine Rech. Photo: Melissa Castro Duarte

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HIT MY NOSE WITH THE STEM OF A ROSE, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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POPPIES PACKED WITH DRUG TREATS, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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CLIMATIS CLINGING CELESTIAL DEVOTED, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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WATERLILLIES SUCKING MUD, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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LAVENDER LAUGHING LUSTFUL, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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MARIGOLD TIGHT AS A CRAB’S ASS, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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ZINNIAS SHOUT POSITIVE PARANOIA, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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ORCHIDS ARE TONGUES THAT LIED, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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DAFFODILS BAPTIZED IN BUTTER, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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IRIS PURPLE SPEARS UNSHEATH WRESTLING WRATHFUL, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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FOXGLOVE CARILLON CRYING PEARLS, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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CARNATIONS GLORIOUSLY SELF-SERVING, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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FERNS UNFURLING FEATHERS GRACEFULLY NEEDY, 2017

Cadmium red light oil on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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HONEYSUCKLE EATING THE SMELL, 2017

Acrylic on canvas
101.6 x 101.6 cm 40 x 40 in
© John Giorno - Courtesy of Almine Rech. Photo: Dan Bradica

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John Giorno (1936-2019) is recognised as one of the most innovative poets and artists of the twentieth century. His kaleidoscopic work fused and furthered poetry, visual art and activism, pushing text off the printed page and into the social realm. Laura Hoptman, Executive Director of the Drawing Center, New York, writes in the publication for the Giorno retrospective at Palais de Tokyo, Paris, “What if concrete poetry and Pop Art merged, like perfect lovers? They would produce John Giorno, muse of the greatest single-word movie (Sleep, 1963) and author of found object word poetry…Giorno’s friendships with Warhol, then Burroughs, and subsequently, his close liaisons with Robert Rauschenberg and Jasper Johns, indicate his presence in the orbit of visual art rather than literature in New York.”

An originator of Performance Poetry, Giorno’s interdisciplinary roles as a political activist, Tibetan Buddhist and performance artist culminated in a burst of creativity in the second half of his artistic career. From 1995-2019, the artist produced an impressive body of visual art in the mediums of painting, sculpture and works on paper. This led to strong support and critical acclaim by artists of younger generations, from Philippe Parreno, Ugo Rondinone and Rirkrit Tiravanija – yielding new museum tributes worldwide. Giorno’s work is held in the collections of The Museum of Modern Art (New York), Centre Georges Pompidou (Paris), SF MoMA (San Francisco), Perez Museum (Miami) and other institutions internationally; as well as in private collections around the world. Giorno’s autobiography, Great Demon Kings: A Memoir of Poetry, Sex, Death and Enlightenment was published by Farrar, Straus & Giroux in August 2020.

This exhibition will premiere two bodies of work that the artist produced late in his career. A suite of eighteen paintings entitled Perfect Flowers, produced in 2017, reflect on the cycles of life and transcendence evidenced in Giorno’s late writings. Elaborating upon a 2004 poem, Welcoming the Flowers, and an eponymous series of prints, Giorno physically transforms lines of poetry such as “daffodils / baptized in butter,” “poppies . . . packed with narcotic treats,” and “the cherry blossoms are razor blades, / the snow dahlias are sharp as cat piss” into poem paintings on heavily buttered coloured surfaces.

In dialogue with the above, the artist’s foray into sculpture with the Stone Poem series in 2018 reveals a new manifestation of earlier texts and phrases. The poems are etched into stone reflecting Giorno’s signature typography, as if returning the poems back to the natural world and referencing the natural cycle of creative production. In addition, a glimpse of the range of Giorno’s oeuvre from Dial-A-Poem (1968-2019) to rainbow paintings (2012-2019) will also be on display.

Concurrent with the London exhibition, Dial-A-Poem will launch in the UK in collaboration with the John Giorno Foundation. Phone line access to the audio work first produced in 1968 will be available free of charge to local callers. In 1968, Giorno created Dial-A-Poem using a telephone service to communicate poetry in a modern idiom. Previously it was shown at the Architectural League of New York in 1968, the Museum of Contemporary Art in Chicago in 1969, and the Museum of Modern Art in 1970. Giorno subsequently produced a series of LP and CD compilations called The Dial-A-Poem Poets in the 1970s and 1980s, encouraging people to start Dial-A-Poem in their hometowns, and to use cuts from the albums along with their local poets.

© John Giorno - Courtesy of Almine Rech. Photo: Melissa Castro Duarte


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