History in the Making

History in the Making 11 January – 10 February 2018

Alan Cristea Gallery 43 Pall Mall, London SW1Y 5JG +44 (0)20 7439 1866 info@alancristea.com www.alancristea.com

Pablo Bronstein Gordon Cheung Dexter Dalwood Walton Ford Paul Noble Cornelia Parker Francis Lisa Ruyter Clare Woods

Introduction History in the Making is an exhibition of new and recent projects by contemporary artists which directly make use of or appropriate specific historical artworks and genres.

The basis for Gordon Cheung’s most recent body of work are images of 17th-century Dutch still life paintings taken from the online archive of the Rijksmuseum in Amsterdam. These images are publicly available and out of copyright, therefore free for anyone to access and use. Using an open source computer algorithm which sorts the pixels, Cheung ‘glitches’ each image, making them appear as if they are dissolving. Cheung acknowledges the Dutch artists by name in all his titles; his morphing of the image and the selection of the genre of the still life is a commentary on ‘the fragility of existence (and) the futility of materialism… and yet the background to these paintings was Holland’s immense trading power.’ [i] In a similar way, American artist Francis Lisa Ruyter makes use of another image archive as source for both paintings and prints.

This time it is the Library of Congress’s FSA archive of Depressionera photographs. Once again, the artist openly acknowledges the authorship of the original image – in this case Dorothea Lange and Walker Evans – but transforms the iconic stark black and white photographic image into a vividly coloured relief print or painting.

Ruyter has been occupied with this archive for a number of years and writes: ‘These images, produced through government agency, quite miraculously transcend propaganda, and have become the material of an American identity. It is a defining and generative archive, ever more so as it is digitized, repeated and further disseminated. There are lessons to be found in this archive containing an army of readily reanimated ghosts. These ghosts are sacred spirits to some, untouchable for what they represent.

To ‘appropriate’ therefore becomes another assault on their memory, as if any previous incarnation had ever been free of appropriation. These photographs are of Americans, and they represent those who go unnoticed, unrecognized and

unrepresented. They are us, or at least some idea that we have of ourselves, they belong to us because of the way that they came into our world, as photographs, not as people. It is a record of what was already being lost to Americans even as it was being constructed, an American dream of self-determination, independence and freedom.’ [ii] Dexter Dalwood’s paintings and prints are collages of visual imagery from art history, personal memory and political and cultural events from the past. His work reinterprets the genre of History Painting for a contemporary audience. The prints entitled The Apartment (after Delacroix), take as their starting point Eugène Delacroix’s painting, Femmes d’Alger dans leur appartement of 1834, which Picasso also used as inspiration for a set of lithographs in the 1950s. In Dalwood’s series of screenprints, the women have been removed from the apartment and the four images follow a narrative from night through to dawn and finally to an explosion, which reveals the outside space through a hole blown in the wall.

Cornelia Parker’s interest in the pioneering early photography of William Henry Fox Talbot led her to track down his original collection of glassware, now in the collection of the Bodleian Libraries, University of Oxford. She was given permission to borrow the last eight surviving glass objects that were captured in his famous photograph Articles of Glass, in order to use them in her own suite of photogravure prints. As is typical of her work, she took this group of seemingly everyday objects, imbued with their own historical narrative, and has reanimated them.

‘Combining two of Fox Talbot’s techniques, sun prints and photogravure, I have used light and glass objects to make a new hybrid form of print. My versions of Fox Talbot’s Articles of Glass have been made by exposing the actual subjects of his original image onto photogravure plates, using UV light to cast 21st-century shadows through the 19th-century glass. The resulting images allow the glassware to descend from its historic shelves and create new compositions, some still replete with their museum tags.’ [iii] 3

Clare Woods’ art historical references come from the mid-twentieth century, from British artists such as Graham Sutherland, Paul Nash and John Piper as well as the sculptors Barbara Hepworth, Eduardo Paolozzi and Henry Moore. Having initially trained as a sculptor before making painting her primary focus, her work is often described as ‘sculpting an image in paint’. She draws inspiration from the threedimensional, easily recognisable forms of a reclining figure, a portrait head, and a mother and child for a series of hand-painted collages.

Paul Noble’s first print project with the gallery consists of a set of six hard ground etchings. As the starting point, Noble has taken details from his drawing Ye Olde Ruin (2003-4), part of the monumental drawing project Nobson Newtown, which he then meticulously drew onto a copper plates using traditional techniques of drypoint and aquatint to create a series of elaborately complex, highly detailed, surreal scenes.

A blocky geometric font (Noble’s own invention) appears in the centre of each image and inspires the set title To ease to ‘ell one needs two N’s (as the prints contain one each of six letters: two E’s, two L’s and two N’s). Noble’s creation of a symbolic city draws inspiration from sources as diverse as ancient Chinese scrolls and Japanese sculpture to landscapes and townscapes by Hieronymous Bosch and Pieter Bruegel the Elder.

Walton Ford is an American artist who makes paintings and prints in the style of nineteenth-century naturalist illustrations by artists such as John James Audubon, Karl Bodmer and George Catlin. In the print, Pestvogel, he has taken as his subject a group of waxwings, which sometimes go on sudden, massive migrations. This behaviour has led them to acquire names such as Pestvogel (plague-bird), Unglückvogel (disaster-bird) and Pestilenzvogel (pestilence-bird). A widely recorded waxwing invasion during the winter of 1913-14 was later assumed to be an omen for the First World War which began the following summer: ‘In this print I imagined what kind of imagery could accompany this fantastic belief, the idea that a small songbird could be responsible 4

for a world war. Some of my work is a literal exploration in these kinds of fears and superstitions.’ [iv] Pablo Bronstein uses eighteenth-century architectural engravings as the source of his work. Design for a cake basket and two muffineers en-suite, his first edition with the gallery, is a detailed hand-coloured etching which incorporates a group of eighteenthcentury silverware, inspired by his own personal collection, which he has placed into an architectural setting. The act of hand-colouring itself is also a reference to an historical tradition: prior to the nineteenth century, the application of colour on prints was almost always done by hand. At first glance, the image looks as if it comes from another time: ‘…The assumption is that if it looks old and traditional, then it is – and very often… my art has been taken very literally. If work is traditional, then it has to be a part of an ongoing tradition. My work is part of the tradition of contemporary art, but not part of a (non-existent) tradition of neo-baroque architectural drawings. For me, the important thing is context. I don’t fit into the belief that the past did things better. I feel my aesthetic can be provocative in contemporary contexts, but whenever I’ve tried to fit work into very historic interiors, instinctively I rebel against them.’ [v] By openly acknowledging their sources of inspiration, these artists seek to elucidate a new set of ideas using historical precedents as their starting point. It is not an exhibition about influence; the artists in this exhibition are not ‘influenced’ by the historical work they reference; instead the historical artwork itself and its wider cultural significance are the subject, re-examined through a variety of imagery, techniques and, at times, wry subversions.

David Cleaton-Roberts and Helen Waters, November 2017

[i] Interview between the artist and Charlotte Mullins, 30 June 2015, taken from Tulipmania, Alan Cristea Gallery exhibition catalogue, 2015 [ii] Lisa Ruyter, Let Us Now Praise Famous Men, Alan Cristea Gallery exhibition catalogue, 2012 [iii] Cornelia Parker, March 2017 [iv] Walton Ford, 2016 [v] Pablo Bronstein, Apollo Magazine, 3 July 2015

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Pablo Bronstein Design for a cake basket and two muffineers en-suite, 2017 Hard ground etching on Fabriano Tiepolo 280 gsm paper Paper 69.9 Ă— 89.2 cm / Image 54.8 Ă— 74.2 cm Edition of 30 6

Copies 1–12 hand-coloured with Lemon Yellow ink (illustrated) Copies 13–24 hand-coloured with Ice Yellow and Tobacco Brown ink 7

Pablo Bronstein Tea Urn on Architectural Support, 2017 Hard ground etching on Fabriano Tiepolo 280 gsm paper Paper 59.0 × 48.0 cm / Image 39.7 × 29.7 cm Edition of 30 Copies 1–24 hand-coloured in two variations (one illustrated) 8

Pablo Bronstein Tea Urn on Legs, 2017 Hard ground etching on Fabriano Tiepolo 280 gsm paper Paper 59.0 × 48.0 cm / Image 39.7 × 29.7 cm Edition of 30 Copies 1–12 hand-coloured with Burnt Orange and Green ink (illustrated) Copies 13–24 hand-coloured with Ice Yellow and Tobacco Brown ink 9

Gordon Cheung Still Life with Golden Goblet (after Pieter de Ring 1640-1660), 2017 Archival inkjet print on Hahnemuhle 380gsm Photo Rag paper Paper 103.0 × 88.0 cm / Image 100.0 × 85.0 cm Edition of 20 10

Gordon Cheung Still Life with Nautilus Cup (after Frans Sant-Acker 1648-1688), 2017 Archival inkjet print on Hahnemuhle 380gsm Photo Rag paper Paper 69.0 × 59.5 cm / Image 66.0 × 56.5 cm Edition of 20 11

Gordon Cheung Still Life with Silver-gilt Bekerschroef with Roemer (after Abraham Hendricksz van Beyeren 1640-1670), 2017 Archival inkjet print on Hahnemuhle 380gsm Photo Rag paper Paper 53.2 Ă— 39.3 cm / Image 50.2 Ă— 36.3 cm Edition of 20 12

Gordon Cheung Vanitas Still Life (after Aelbert Jansz van der Schoor Vanitas 1640-1672), 2017 Archival inkjet print on Hahnemuhle 380gsm Photo Rag paper Paper 60.0 Ă— 73.0 cm / Image 57.0 Ă— 70.0 cm Edition of 8 13

Dexter Dalwood The Apartment (after Delacroix) I, 2012 Screenprint on Somerset Enhanced Radiant White Satin 330gsm paper Paper 50.5 × 57.0 cm / Image 29.0 × 37.0 cm Edition of 35 14

Dexter Dalwood The Apartment (after Delacroix) II, 2012 Screenprint on Somerset Enhanced Radiant White Satin 330gsm paper Paper 50.5 × 57.0 cm / Image 29.0 × 37.0 cm Edition of 35 15

Dexter Dalwood The Apartment (after Delacroix) III, 2012 Screenprint on Somerset Enhanced Radiant White Satin 330gsm paper Paper 50.5 × 57.0 cm / Image 29.0 × 37.0 cm Edition of 35 16

Dexter Dalwood The Apartment (after Delacroix) IV, 2012 Screenprint on Somerset Enhanced Radiant White Satin 330gsm paper Paper 50.5 × 57.0 cm / Image 29.0 × 37.0 cm Edition of 35 17

Walton Ford Pestvogel, 2016 Hard ground, soft ground, aquatint, spit bite, sugar lift and drypoint on Somerset Satin paper Paper 101.6 Ă— 78.1 cm / Image 71.1 Ă— 55.9 cm Edition of 65 18

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Paul Noble Man with Bottles From: To ease to ‘ell one needs two N’s, 2017 Hard ground etching on copper with aquatint, drypoint and roulette wheel, printed with Charbonnel 55985 black ink on Somerset Satin White 300gsm paper Paper 66.6 × 52.8 cm / Image 39.0 × 28.4 cm Edition of 25 20

Paul Noble Man with Flower From: To ease to ‘ell one needs two N’s, 2017 Hard ground etching on copper with aquatint, drypoint and roulette wheel, printed with Charbonnel 55985 black ink on Somerset Satin White 300gsm paper Paper 66.6 × 52.8 cm / Image 39.0 × 28.4 cm Edition of 25 21

Paul Noble Man with Lamp, Woman with Chains From: To ease to ‘ell one needs two N’s, 2017 Hard ground etching on copper with aquatint, drypoint and roulette wheel, printed with Charbonnel 55985 black ink on Somerset Satin White 300gsm paper Paper 66.6 × 52.8 cm / Image 39.0 × 28.4 cm Edition of 25 22

Paul Noble Man with Mirror From: To ease to ‘ell one needs two N’s, 2017 Hard ground etching on copper with aquatint, drypoint and roulette wheel, printed with Charbonnel 55985 black ink on Somerset Satin White 300gsm paper Paper 66.6 × 52.8 cm / Image 39.0 × 28.4 cm Edition of 25 23

Paul Noble Woman with Apples From: To ease to ‘ell one needs two N’s, 2017 Hard ground etching on copper with aquatint, drypoint and roulette wheel, printed with Charbonnel 55985 black ink on Somerset Satin White 300gsm paper Paper 66.6 × 52.8 cm / Image 39.0 × 28.4 cm Edition of 25 24

Paul Noble Woman with Pond From: To ease to ‘ell one needs two N’s, 2017 Hard ground etching on copper with aquatint, drypoint and roulette wheel, printed with Charbonnel 55985 black ink on Somerset Satin White 300gsm paper Paper 66.6 × 52.8 cm / Image 39.0 × 28.4 cm Edition of 25 25

Cornelia Parker Fox Talbot’s Articles of Glass (bottoms up) From: Fox Talbot’s Articles of Glass, 2017 Polymer photogravure etching on Fabriano Tiepolo Bianco 290 gsm paper Paper and image 56.3 × 77.3 cm Edition of 25 26

Cornelia Parker Fox Talbot’s Articles of Glass (tagged glasses) From: Fox Talbot’s Articles of Glass, 2017 Polymer photogravure etching on Fabriano Tiepolo Bianco 290 gsm paper Paper and image 56.3 × 77.3 cm Edition of 25 27

Cornelia Parker Fox Talbot’s Articles of Glass (all that are left) From: Fox Talbot’s Articles of Glass, 2017 Polymer photogravure etching on Fabriano Tiepolo Bianco 290 gsm paper Paper and image 56.3 × 77.3 cm Edition of 25 28

Cornelia Parker Fox Talbot’s Articles of Glass (three decanters) From: Fox Talbot’s Articles of Glass, 2017 Polymer photogravure etching on Fabriano Tiepolo Bianco 290 gsm paper Paper and image 56.3 × 77.3 cm Edition of 25 29

Francis Lisa Ruyter Dorothea Lange ‘Destitute pea pickers in California. Mother of seven children.

Age thirty-two. Nipomo, California’, 2014 Relief print in six colours from three blocks on Somerset Satin 410 gsm tub sized paper Paper 114.1 × 84.1 cm / Image 100 × 72 cm Edition of 30 30

Francis Lisa Ruyter Walker Evans ‘Floyd Burroughs, cotton sharecropper. Hale County, Alabama’, 2011 Acrylic on canvas 120.0 × 100.0 cm 31

Clare Woods Collage for Sing Me to Sleep 13, 2016 Oil on paper with collage Paper and image 26.9 Ă— 32.9 cm Unique 32

Clare Woods Collage for the Parting 2, 2016 Oil on paper with collage Paper and image 32.9 Ă— 26.9 cm Unique 33

Clare Woods Thinks, 2016 Oil and spray paint on paper with collage Paper and image 58 Ă— 86 cm Unique 34

Pablo Bronstein

Gordon Cheung

Pablo Bronstein was born in 1977 in Buenos Aires, Argentina. He studied at the Slade School of Fine Art, London graduating in 2001 and Goldsmith’s College, London 2003-04.

Gordon Cheung was born in London in 1975. He studied painting at Central Saint Martin’s College of Art and the Royal College of Art, London, graduating in 2001.

Recent solo exhibitions include Conservatism, or the Long Reign of Pseudo-Georgian Architecture, RIBA, London (2017); Jupiter Artland, Edinburgh (2017); Franco Noero, Turin (2017); Tate Britain Commission 2016: Pablo Bronstein, Tate Britain, London (2016); Staatsgalerie Stuttgart, Stuttgart (2016); Haydn’s Creation, Garsington Opera, Buckinghamshire and Sadler’s Wells, London (2016); Wall Pomp, Pallant House Gallery, Chichester (2016); The Grand Tour: Pablo Bronstein and the Treasures of Chatsworth, Nottingham Contemporary, Nottingham (2015); and We live in Mannerist times, Museum of Fine Arts, Houston (2015).

He has taken part in group exhibitions in Europe, Asia, South America and the USA, including Vita Vitale, Azerbaijan Pavilion, La Biennale di Venezia, Venice (2015); How to Explain Pictures to a Dead Hare, Pristine Gallery, Mexico (2016); 30 Years of Art, Centre For Chinese Contemporary Art, Manchester (2016); and Turkish Tulips, Museum Van Loon, Amsterdam, and tour to the Bowes Museum, Durham (2017).

Recent group exhibitions include Idea Home, MIMA, Middlesbrough (2017); Last Year in Marienbad, Kunsthalle Bremen, Bremen (2015) and tour to Galerie Rudofinium, Prague (2016); British Art Show 8 at Leeds City Art Gallery, Scottish National Gallery of Modern Art, Edinburgh, Norwich University of the Arts and Norwich Castle Museum and Art Gallery, Norwich, John Hansard Gallery and Southampton City Art Gallery (2016); History is Now: 7 Artists Take on Britain, Hayward Gallery, London (2015); Folkestone Triennial, curated by Lewis Biggs, Folkestone (2014).

His work is held in many museum collections including the British Museum, London; Tate, London; Victoria and Albert Museum, London; Centre Pompidou, Paris; Brooklyn Museum, New York; Metropolitan Museum of Art, New York; and the Museum of Fine Arts Houston, Texas.

This is Bronstein’s first print project with the gallery. Bronstein lives and works in London.

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Recent solo exhibitions include Breaking Tulips, Alan Cristea Gallery, London (2015); Here Be Dragons, Nottingham Castle Museum, Nottingham (2016); Unknown Knowns, Edel Assanti, London, (2017); and Lines in the Sand, Leila Heller Gallery, Dubai (2016). In December 2017 his exhibition New Order Vanitas opened at the Ann Norton Sculpture Gardens, West Palm Beach, Florida.

His work is held in many private and public collections including the Yale Center for British Art, Connecticut; Asian Art Museum, San Francisco; Hirschhorn Museum, Washington D.C.; Whitworth, Manchester; and British Museum, London.

Alan Cristea Gallery has been publishing Cheung’s editions since 2006. Cheung lives and works in London.

Dexter Dalwood

Walton Ford

Dexter Dalwood was born in Bristol in 1960. He studied at St. Martins School of Art 1981-85 and then at the Royal College of Art, London 1988-89.

Walton Ford was born in Larchmont, New York in 1960. He studied at Rhode Island School of Design, Rhode Island, graduating in 1982 and took part in the Rhode Island School of Design Honors Program in Rome, Italy.

Recent group exhibitions include True Faith, Manchester Art Gallery, Manchester (2017); Age of Terror, Imperial War Museum, London (2017); Bacon to Doig: Modern Masterpieces from a Private Collection, National Museum Cardiff, Wales (2017); and New Pleasure, Simon Lee Gallery, New York (2017).

Recent solo exhibitions include Ein Brief, Galerie Hubert Winter, Vienna (2017), Propaganda Painting, Simon Lee Gallery, Hong Kong (2016), London Paintings, Simon Lee Gallery, London (2014–15), Dexter Dalwood, a solo survey exhibition at Centre Pasqu’Art, Biel, Switzerland (2013), Orientalism, David Risley Gallery, Copenhagen (2012), Dichter und Drogen, Nolan Judin Gallery, Berlin (2011), and a major retrospective at FRAC Champagne-Ardennes, CAC Malaga and Tate St Ives, for which he was nominated for the Turner Prize in 2010.

His work is held in various public collections including the British Council, London; Tate, London; Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany; Trevi Flash Museum of Contemporary Art, Trevi, Italy; Centre PasquArt, Biel, Switzerland.

The Apartment (after Delacroix) is Dalwood’s third print series with the Alan Cristea Gallery. Dalwood lives and works in London.

Recent solo exhibitions include Calafia, Gagosian, Beverley Hills (2017); Walton Ford, Musée de la Chasse et de la Nature, Paris (2016); Watercolors, Paul Kasmin Gallery, New York (2014); Walton Ford: Bestiarium, Louisiana Museum of Modern Art, Humlebaek, Denmark and tour to Hamburger Bahnhof Museum fur Gegenwart, Berlin and Albertina, Vienna (2010).

Recent group exhibitions include On the Origin of Art, Museum of Old And New Art, Hobart, Tasmania (2016-17); The Nest, Katonah Museum of Art, Katonah, New York (2016); One Great Night in November, The Museum of Fine Arts, Texas (2013); The Bear Necessities, John Berggruen Gallery, San Francisco (2012); Winged Shadows: Life Among Birds, North Dakota Museum of Art, North Dakota (2011); Traum und Realität, Galerie Siegel-Springmann, Freiburg (2011); and Wunderkammer: A Century of Curiosities, Museum of Modern Art, New York (2008).

His work is held in many American public collections including the Whitney Museum of American Art, New York; Museum of Modern Art, New York; New York Public Library, New York; Princeton Art Museum, New Jersey; San Antonio Museum of Art, Texas; and Smithsonian American Art Museum, Washington D.C..

Ford lives and works in New York.

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Paul Noble

Cornelia Parker

Paul Noble was born in Northumberland in 1963. He studied at Sunderland Polytechnic 1982-83 and Humberside College of Higher Education, Hull, 1983-86.

Cornelia Parker was born in Cheshire in 1956. She studied at the Gloucestershire College of Art & Design and at Wolverhampton Polytechnic before receiving her MA Fine Art from the University of Reading in 1982. Her first major solo exhibition, Thirty Pieces of Silver, took place at the Ikon Gallery, Birmingham in 1988. In 1997 she was shortlisted for the Turner Prize and in 2010 she was elected to the Royal Academy of Arts and became an OBE.

He was included in Abracadabra at the Tate Gallery, London in 1999 and the British Art Show in 2000. In 2002, he took part in Drawing Now: Eight Propositions, Museum of Modern Art, New York and (The World May Be) Fantastic, Biennale of Sydney, Australia.

Recent solo exhibitions include Paul Noble: New Works, Gagosian, San Francisco (2017); Paul Noble: Nobson, Museum Boijmans Van Beuningen, Rotterdam (2014); The Gates, Gagosian, Athens (2013) and Marble Hall, Laing Art Gallery, Newcastle-upon-Tyne (2011).

Noble was shortlisted for the Turner Prize in 2012.

Recent group exhibitions include Lines of Thought, Marta Herford Museum, Marta Herford, Germany (2015); Drawing Now, Albertina, Vienna (2015); Body & Void: Echoes of Moore in Contemporary Art, Henry Moore Foundation, Perry Green (2014); Automatic Cities: The Architectural Imaginary in Contemporary Art, Museum of Contemporary Art San Diego, California (2009).

To ease to ‘ell one needs two N’s is Noble’s first print project with the gallery. Noble lives and works in London.

Cornelia Parker’s work is held in numerous collections worldwide including Tate, London; British Council, London; Museum of Modern Art, New York; and the Yale Center for British Art, Connecticut. She has taken part in many exhibitions internationally: she was included in the tenth Gwanju Biennale in South Korea in 2014 and Found, an exhibition for the Foundling Museum, London that she curated in 2016, which included work by over 60 contemporary artists.

Recent solo exhibitions include One Day This Glass Will Break at Alan Cristea Gallery and Cornelia Parker at the Whitworth Gallery, Manchester, both in 2015. Parker was commissioned by Terrace Wires in collaboration with HS1 and the Royal Academy of Arts to make One More Time for St. Pancras International Station, London in 2015. In the same year she also made Magna Carta (An Embroidery), a commission by the Ruskin School of Art, Oxford in partnership with the British Library, London.

In 2016 she was the first woman artist to be given the Roof Garden Commission at the Metropolitan Museum of Art, New York, where she created Transitional Object (Psychobarn). She was the UK’s official Election Artist for the 2017 General Election.

Alan Cristea Gallery has been publishing Parker’s editions since 2008. Parker lives and works in London.

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Francis Lisa Ruyter

Clare Woods

Francis Lisa Ruyter was born in Washington D.C. in 1968 and studied at Maryland Art Center 1982-86; the School of Visual Arts, New York 1986-1990 and Hunter College Fine Arts Program, New York 1991-92.

Clare Woods was born in Southampton in 1972. She studied for her BA Fine Art at Bath College of Art 1991-94 and for her MA Fine Art at Goldsmith’s College, London 1997-99.

Recent solo exhibitions include Temporada d’Ópera Amics del Liceu, Lab 36, Barcelona; Let Us Now Praise Famous Men, school, Vienna (2015); Eleven Rivington, New York (2015); Connersmith Gallery, Washington D.C. (2012); Alan Cristea Gallery, London (2012); and Alienated world in Your Life, Leeahn Gallery, Seoul and Daegu, South Korea (2011).

In 2012 Woods was commissioned by the Contemporary Art Society, London to create a permanent ceramic mural for the London Olympic Park, and in 2015 she created a 20 x 8 metre painting for Aarhus VIA University College, Denmark. Recent solo exhibitions have included Victim of Geography, Dundee Contemporary Arts, Dundee (2017); The Sleepers, Pallant House Gallery, Chichester (2016); Clean Heart: A Landscape Retrospective by Clare Woods, Hestercombe Gallery, Somerset (2016); A Tree A Rock A Cloud which toured around museum venues in Wales from Oriel Davies (2014-2016); Martin Asbaek Gallery, Copenhagen, (2015), Rebecca Chami Gallery, Athens (2014); André Buchmann Galerie, Berlin, (2014); Harewood House, Leeds (2013); Southampton City Art Gallery, Southampton (2012); The Hepworth Wakefield, West Yorkshire (2011). In 2018 she will have solo exhibitions at the Mead Gallery, Warwick Arts Centre, and at Simon Lee Gallery, Hong Kong.

Recent group exhibitions include: Publishing as an Artistic Toolbox: 1989-2017, Kunsthalle Wien, Vienna (2017); This is the Sea, Big Mak/artmonte-carlo salon d’art, Monaco; Making Her Mark, Mattatuck Museum, Connecticut (2016); Lisa Ruyter and Peter Sandbichler, Kunstforum Montafon, Schruns Austria (2013); Under the Greenwood: Picturing the British Tree, St Barbe Museum & Art Gallery, Lymington (2013); The Distaff Side, curated by Melva Bucksbaum, featuring works from the collection of Melva Bucksbaum and Raymond Learsy, The Granary, Sharon, Connecticut (2013); Painting as a Radical Form, curated by Mario Diacono at Collezione Maramotti, Reggio Emilia, Italy (2013); Von Kopf bis Fuß.

Porträts und Menschenbilder in der Sammlung Würth, Kunsthalle Würth, Schwäbisch Hall, Germany; DECENTER NY/DC, Luther W. Brady Art Gallery, The George Washington University, Washington D.C. (2013); and CANCER, gdm Galerie de Multiples, Paris (2012).

Ruyter has work in many private and public collections worldwide including Museum of Modern Art, New York; Denver Art Museum, Denver; Museum der Moderne, Salzburg; San Francisco Museum of Modern Art, San Francisco; Collection VAC (Valencia Arte Contemporáneo), Valencia, Spain; and Elgiz Museum, Istanbul.

In 2016 Art/Books published the artist’s first monograph. Entitled Strange Meetings it includes texts by Michael Bracewell, Rebecca Daniels, Jennifer Higgie and Simon Martin, with a foreword by Andrew Marr. Her work is held in numerous public collections including Albright-Knox Art Gallery, Buffalo; Arken Museum of Modern Art, Denmark; Arts Council Collection, London; CCA Andratx, Mallorca, Spain; Government Art Collection; The National Museum of Wales; Southampton City Art Gallery and Tullie House Gallery, Carlisle.

Alan Cristea Gallery has been publishing Woods’ editions since 2016.

Woods lives and works in Hereford.

Alan Cristea Gallery has been publishing Ruyter’s editions since 2010. Ruyter lives and works in Vienna.

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The Alan Cristea Gallery would like to thank the artists Pablo Bronstein, Gordon Cheung, Dexter Dalwood, Walton Ford, Paul Noble, Cornelia Parker, Francis Lisa Ruyter and Clare Woods, as well as Mariska Nietzman, Paul Kasmin Gallery, for their support of this exhibition. Special thanks go to Pete Kosowicz of Thumbprint Editions; Simon Lawson of Huguenot Editions; Bob Saich and Louise Peck of Advanced Graphics; Andrew Turnbull at Digital Print Studio; and Joe Ewart.

Pablo Bronstein, Cornelia Parker and Francis Lisa Ruyter editions were printed by Thumbprint Editions, London Paul Noble editions were printed by Simon Lawson at Huguenot Editions, London

Published by Alan Cristea Gallery on the occasion of the exhibition History in the Making 11 January – 10 February 2018 Alan Cristea Gallery 43 Pall Mall London SW1Y 5JG Introduction © David Cleaton-Roberts and Helen Waters, 2017

Walton Ford’s Pestvogel was printed by Peter Pettengill at Wingate Studio, New Hampshire, USA

Pages 6, 26 – 29: Photography by Peter White, FXP Photography, London Pages 7 – 9, 30, 32, 33: Photography by Prudence Cumming Pages 10 – 13: Photography by Gordon Cheung Page 19: Image courtesy of Walton Ford and Paul Kasmin Gallery Pages 20 – 25: Photography by Stephen White Page 34: Image courtesy of the artist and Simon Lee Gallery London/Hong Kong

All editions aside from Walton Ford were published by Alan Cristea Gallery, London

Designed by Joe Ewart Produced by fandg.com

Gordon Cheung editions were printed by Andrew Turnbull at Digital Print Studio, Kent Dexter Dalwood editions were printed by Advanced Graphics, London

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.

ISBN 978-0-9955049-8-1