Artist CV
Artist's statement
(b 1957GB. Lives and works in London)
Finch’s current Book of Knowledge series appropriates and explores images from an eight-volume set of encyclopedias by the same name, published at the end of the 1950s. By scanning the over 3000 images from the volumes at very high resolution, Finch is able to not only reproduce them at scale, but also to explore and exploit them through playful and provocative digital collages that expose their time-sensitive political and ideological undertones.Solo exhibitions
- 2013
- Engrams, Piper Gallery, London
- 2010
- Bare Life, Tableaux 2009-10, LAS galerie, Paris
- 2008
- Taken as Read, Moments / Christian Aubert, Paris.
- 2007
- Point de fuite / vanishing point, gallery 33, Berlin, Germany
- LAS galerie, ‘Trisquare – Closer Than You Think, peintures 1996-98’, Paris
- 2006
- Prosopopoeia, gallery 33 at FON, Berlin, Germany.
- 2005
- Nevermind, Galerie Pitch, Paris, France,
- 2005
- Sublimey 1, Galerie Pitch, Paris, France
- 2004
- Mick Finch & Olivier Gourvil, Amilly,Centre, France.
- 2002
- Camouflage (with Guillaume Paris), Gallery éof, Paris.
- 2001
- Courant d'air, exposition relais, la vitrine Paulin, Solre-le-château.
- 2000
- Tableaux: 1998 - 2000, Gallery éof,, Paris, France.
- 1998
- Plus Près que vous ne le Croyiez, Gallery Art & Patrimoine, Paris, France
- Closer Than You Think 2, Le Carré, Lille, France
- Closer Than You Think , Purdy Hicks Gallery, London.
- 1995
- David Holmes Contemporary Art, Peterboro’, U.K.
- 1994
- N17, Purdy Hicks Gallery, London
- The Union, London
- 1993
- Purdy Hicks Gallery, London
- 1992
- Pomeroy Purdy Gallery, London
Group exhibitions
- 2019
- ⌘X ⌘V, BACA Art Centre, Beijing
- 2017
- Inner Landscapes, the Sid Motion Gallery, London
- Remembering Henry James: The British-American Connection, curated by Beth
- 2016
- Vermeer, Museo dell'Accademia Ligustica di Belle Arti, Genova
- Wham Bam Thank You Ma’am, Cheng Centre for Contemporary Art, 798 Art District, Beijing
Academic Original Creative, SCFAI - Sichuan Fine Arts Institute, Sichuan, China - 2014
- (detail), H-Project Space-Bangkok, Transition Gallery-London, Usher Gallery-Lincoln
- 2013
- www.paintingdetail.com
- The Perfect Death – Horizons. The Lion & Lamb, London
- Summer Salon, The Lion & Lamb, London
- Painting/Tableau/Stage, The Urban Art Space, Columbus, Ohio
- With Moyra Derby, Stuart
- Elliot, Mick Finch and Beth Harland
- Dirty Pop, & Model, Leeds
- With Torch and Spear: constructing collage, curated by Ian Dawson, Winchester School of Art Gallery.
- 2012
- Picture/Tableau/Screen. A visual symposium at UCA Canterbury in the Herbert Read, Gallery, Ex Roma. A.P.T Gallery, London
- 2011
- The Beach and the Pavement, Paradise Row Gallery, London, Curated by Mick Finch, Guillaume Paris and Nick Hackworth, The Producers, The British School at Rome, One Day Wonder, Valentines Mansion Ilford, Essex.
- 2010
- Mona Lisa, Collective Studios, Wandsworth, London.
- 2009
- RCA Secrets, the Royal College of Art London
- 2008
- Constellation, oeuvres sur papier, Las galerie, Paris
- 2007
- Las galerie @ se0ne, London,
- Tease Art Fair Cologne with Gallery 33
- Doubleuse, The Nunnery, London.
- 2006
- Mickey dans tous ses états , Artcurial, Paris.
- Abstract Mode, Fosterart, London
- Trendmarks, galerie Suty, Coye-la-Forêt, France
- 2005
- Mythomania, The Metropole, Folkestone, England and Le Lieu d’Art & Action Contemporaine, Dunkerque, France
- 2004
- Dessins, Galerie Pitch, Paris, France.
- 2003
- L'art dans ses passages/ Ce que porte la peinture, Galerie Pitch, Paris
- Dessins d'ici, ESAD, Amiens, France and l'espace St-Jacques de, St-Quentin, St-Quentin, France
- 2001
- Appelation d'origine non contolée, Maison de la culture d'Amiens / Espace culturel François-Mitterand, Beauvais
- 2000
- Le pays où le ciel est toujours bleu, 20 rue des Curés, Orleans, France
- Rivey, Taïb, Turpin, Urgano Bravo
- The Wreck of Hope, curated by the Friedrich Society, Nunnery Gallery, London
- 1999
- Du côté du tableau II, Galerie le Carré, Lille
- 1998
- Tech, Gallerie é.o.f., Paris
- Tech, Jason & Rhodes Gallery, London
- Suface, Art & Patrimoine, Paris
- 1997
- push, Gallerie é.o.f
- Ateliers Portes Ouvertes Des Artistes De l'Oise, Conseil Général De L'Oise
- La Biennale d'Issy, Issey-Les-Moulineaux, France
- 10 Jours de l'Art Contemporain, Galerie Art & Patrimoine, Paris.
- 1996
- Color & Light, Jeffrey Coploff Gallery, New York
- Gallery artists, Purdy Hicks, London.
- 1994
- Credo, Purdy Hicks, London
- 3/4 South Square, London with David Hiscock
- Contemporary Art Society Art Market, London
- L’Ame du Fond, Couvent des Cordeliers, Paris (F.R.A.C. d'Ile de France)
- Drawing, Purdy Hicks, London
- 1993
- Le Sens Figuré. Tour of Canada: Centre Culturel Pierrefonds
- Galerie Les3 C, La Salle, Maison de la Culture Côte-des
- Nieges,Studio A Montreal
- Europ ‘Art Sans Frontieres Espace Wallonie-Bruxelles, Paris, What Are They Doing Now, Artists from the BDO Binder Hamlyn Collection, London
- 38e Salon de Montrouge, Paris
- Purdy Hicks Gallery Artists, London
- Collection Colas exhibition, Colas, Paris
- The Economist Building Gallery, with Ayres, Porter and Budd
- David Holmes Gallery, Peterborough
- Parsons School of Art Faculty exhibition, Paris
- 1992
- Lo Cal, Institute of Higher Education, London
- Parsons School of Art Faculty exhibition, Paris
- Le Sens Figuré, Centre International d’Art Contemporain, Montréal, Canada.
Awards & residencies
- 2011
- Abbey Fellowship in Painting, British School at Rome, January – March, 2011 2005 Terra Foundation for American Art Fellowship, Musée d’Art Americain Giverny
- 2003
- Pollock-Krasner Foundation Grant
- 1985
- The Unilever Award
- The Unilever Purchase Prize
- The Burston Award
- 1982
- The Milner Kite Award
Press & publications
- 2019
- Image Journeys: The Warburg Institute and a British Art History, edited by Joanne Anderson, Mick Finch and Johannes von Muller, chapter by Mick Finch
- The Artist as Cultural Migrant: the role of the residency, in Main Tenant, published by Blitz, Malta.
- 2018
- Recherche: un mode d'emploi. In: Passeur:enseignants & médiateurs. Exposer/Démontrer. Les écarts de la recherche en art. Art, enseignement & médiation, 3 (3). Opemap, Art, enseignement & médiation, Bruxelles, pp. 124-137. ISBN 978-2-9601926-1-2, http://ualresearchonline.arts.ac.uk/12260/
- Mick Finch and Andreas Beyer, Foreword to'Metadata'. In: Metadata. Bilderfahrzeuge, London, pp. 9-19. ISBN 978 1 5272 1845 1
- 2017
- L’Artiste Comme Chercheur: La céramique comme expérience, VOL 2, Journées d’étude, Les arts du feu à l'heure actuelle, published by Naima, Limoges, pp. 31-51. ISBN ISBN 978-2-37440-041- 9http://ualresearchonline.arts.ac.uk/12183/
- The Technical Apparatus of the Warburg Haus: possible returns from oblivion. Philosophy of Photography, 8 (1-2)
- The Warburg Haus: Apparatus, inscription, data, speculation. The Journal of Philosophy of Photography, 8 (1-2), co-authored with Martin Westwood
- DVD of a video discussion between the artist, François Rouan, Mick Finch and Philip Armstrong about Rouan's studio practice. The video was made to accompany the exhibition 'François Rouan- Tressages - 1966-2016', Musée Fabre, 2017, published by the Musée Fabre, France. http://ualresearchonline.arts.ac.uk/11849/
- 2016
- The Technical Apparatus of the Warburg Haus, in Headstone to Hard Drive, The Journal of Visual Art Practice.
- Dead and Alive: Warburg’s Mnemosyne Atlas, in Headstone to Hard Drive, The Journal of Visual Art Practice.
- 2015
- Chapter, Synthetic Composition 1, 1923: Some Possible Constellations, in Wladyslaw Strzeminski: Readability of Images, published in English by the Muzeum Sztuki, Lodz, Poland
- Eric de Chassey on Simon Hantai, Journal of Contemporary Painting Volume 1, number 2 on Simon Hantaï. Edited transcript of an interview with Eric de Chassey on Simon Hantai's work
- Simon Hantaï: Round table discussion, Journal of Contemporary Painting Volume 1, number 2 on Simon Hantaï. Edited transcript of the round table discussion about the work of Simon Hantaï held at the French Institute, 3 June 2014.
- 2012
- Chapter, Synthetic Composition 1, 1923: Some Possible Constellations, in Wladyslaw Strzeminski : Czytelnosc Obrazow, published in Polish by the Muzeum Sztuki, Lodz, Poland.
- 2011
- Catalogue essay for an exhibition of Stuart Elliot's work, Seventeen Gallery London. 2010 Catalogue essay for an exhibition of the work of 'Thomas' (1941 - 2000), Galerie Michael Hasenclever, Munich.
- 2009
- Editor of and contributor of the article, ‘Studio notes: Closer Than You Think, Ply- series, Riposte, Sublimey and Nevermind’, The Journal of Visual Art Practice, n°. 8.1/2. This edition also edited by Mick Finch
- Review of the exhibition, The Russian Linesman, Hayward Gallery, London in artcritical.com. 2009 Review of the exhibition, Figures du corps - une leçon d’anatomie aux Beaux-arts at the École nationale supérieure des beaux-arts de Paris, in artcritical.com
- 2008
- Article, Notes From Paris: Bridget Riley and Peter Doig at the Musée d’art moderne de la ville de Paris, artcritical.com, New York.
- 2006
- Article, 'Insidious' by Guillaume Paris & Mick Finch with Cécile Dazord, for the internet journal /seconds.
- 2005
- Review (written under the name of "James Pinson") of a solo exhibition of Michel Paysant's 'Inventari(a'), Musée des Beaux-arts, Mulhouse, France, Contemporary Magazine
- Review (written under the name of "James Pinson") of a solo exhibition of Dominique Figarella 's work, Le Quartier centre d’art contemporain de Quimper, France, Contemporary Magazine.
- 2004
- Review (written in the name of "James Pinson") of ‘24H Foucault’ by Thomas Hirschhorn, Paris, Contemporary Magazine
- Review (written in the name of "James Pinson") of a solo exhibition of Edouard Pruhlière’s work, Paris, Contemporary Magazine
- Review (written in the name of "James Pinson") of a solo exhibition of Stephen Maas’ work, Paris, Contemporary Magazine
- Review (written in the name of "James Pinson") of a solo exhibition of Olivier Gourvil's painting, Marseilles, Contemporary Magazine
- Article, 'Night Shift', for a special edition on the 'situation of painting', Contemporary Magazine
- Review (written in the name of "James Pinson") of a solo exhibition of Pascal Pinaud's painting, galerie Nathalie Obadia, Paris, Contemporary Magazine.
- 2003
- Review (written in the name of "James Pinson") of a solo exhibition of Guillaume Paris' work, galerie Nelson, Paris, Contemporary Magazine
- Review (written in the name of "James Pinson") of the Bernard Frize retrospective at the musée d'art moderne, Paris. Contemporary Magazine.
- 2001
- 'Peinture: Trois Regards, Contemporary Visual Art Magazine.
- 2000
- 'Daniel Buren', Contemporary Visual Art Magazine
- Review of 'La peinture après l'abstraction' (MAM,Paris) and 'Tableaux: La peinture n'est pas un genre' (museum tour, France),The Burlington Magazine,
- London, 'Die Marquis Von O: A painting by Frank Stella?' exhibition text for the Bonnington Gallery web site, Nottingham & Trent University, Nottingham.
- 1999
- Review of the 'Laboratorium' exhibition in Antwerp, Belgium.
- Contemporary Visual Art Magazine
- Review of David Hockney's exhibition 'Espace et Paysage' (at the Pompidou Center, Paris). The Burlington Magazine, London
- 1998
- 'Prime Cuts', catalogue essay for an exhibition of Nicky Hoberman's paintings. Published by the Entwistle Gallery London'Supports/Surfaces', Contemporary Visual Art Magazine
- 'Notes on Tech', catalogue essay for 'Tech', Jason & Rhodes, London and Galerie é.of, Paris, 'Camping Out : the work of Guillaume Paris & Malachi Farrell ', Contemporary Visual Art Magazine, 'New Technology, New Painting?', Contemporary Visual Art Magazine.
- 1997
- 'Painting As Vigiiance', Contemporary Visual Art Magazine
- ‘Apparently Real’, catalogue essay for an exhibition of Torie Begg's work,Wateroren, Theo Van Doesburgcentrum, Holland
- 'Life /Live ', Contemporary Visual Arts Magazine, Spring 1997.
- 1996
- 'Keeping the Dialect of the Tribe Alive
- English Sculpture at the Jeu de Paume', Contemporary Art Magazine, Autumn Edition
- 'Conversations with van Velde & Beckett', book review, Contemporary Art Magazine, summer edition.
- 1995
- 'François Rouan', Contemporary Art Magazine, winter edition.
- 1994
- 'Georges Braque', Galeries Magazine N° 61, Paris
- 'An Endless Metamorphosis', the work of Miquel Barcelô,Contemporary Art, autumn edition
- 'Battle of the Giants', Contemporary Art, autumn edition
- 'L’Hostage par Art and Language' L’Ame du Fond, F.R.A.C. d’Ile de France
- 'Pulling Faces', (Review of Art and Language at the Jeu de Paume) Contemporary Art, spring edition.
Teaching
- 2019- current
- Professor in Visual Art Practice at the University of the Arts, London.
- 2014-current
- Reader in Visual Art Practice at the University of the Arts, London.
- 2012-2019
- BA Fine Art Course Leader, CSM.
- 2008–2012
- 2D Pathway Leader, B.A. Fine Art CSM.
- 2003–2005
- Project Leader and coordinator of The Arts Movement, an EU funded Interreg project between Medway Council, Kent, UK and the Ville de Valenciennes, France. The project was comprised of a series of pedagogical trips with 75 students from the Ecole des Beaux-arts de Valenciennes, the construction of a web site by the students as a document of the visits and 2 exhibitions in the Medway region. The project was funded by the European Union, the Ville de Valenciennes and Medway Council with an operating budget of €40,000.
- 1999–2007
- Professeur de couleur et pratiques picturales at the Ecole des Beaux-arts de Valenciennes, France.
- 1998–1999
- Subject Leader in Painting, Kent Institute of Art and Design, Canterbury.
- 1996–1997
- Chair of Foundation, Parsons School of Design, Paris, France.
Education
- 2009
- Supervising Research Degrees Diploma, CLTAD, UAL, London
- 1982-1985
- Royal College of Art, London, MA (Fine Art) Painting
- 1976-1980
- Ravensbourne College of Art, BA hons (Fine Art) Painting, 1st class