Tag Archives: Newport Street Gallery

Triple Trouble at Newport St. Gallery

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In what can only be seen as a landmark event in the cultural annals of Greater Kennington, We’ve just attended the blockbuster show ‘Triple Trouble’ over at the Newport Street Gallery in Vauxhall(ish).

Triple Trouble is collaboration of mostly new works between Invader (responsible for the Space Invader mosaics), Shepard Fairley (responsible for the Obama ‘Hope’ and OBEY brand) and Damien Hirst (responsible for dead flies and severed cow heads in formaldehyde). If you think you haven’t seen the work of Invader and Fairley then you’re wrong as they have deeply penetrated the pop universe over the past twenty years. There’s even a fake Invader next to ‘Samsun Kebab’ Kennington Cross.

This exhibit gets right to the point, and in Room 1 we’re face to face with an inviting mix of the sinister and the playful. We see Hirst’s ubiquitous medicine cabinet filled with happy Space Invaders, a bloodied Sid Vicious looking at Hirst/Invader’s serene one eyed Mandala. We then move on to Fairley’s ubiquitous Andre the Giant given a softer tone by Hirst’s blossoms, following on to a lively space invader trapped in, you guessed it, formaldehyde.

Upstairs you begin to understand that the thread that unites these artists is Punk, anarchy, and anyone/thing anti-establishment in the 1970’s. There are some arresting sculptures on this floor dealing with nuclear war, the essence of rebellion and works that make you reflect on yourself. And at the very end we find a very ironic sculpture by Hirst depicting divers discovering gold in the guise of the works we have just seen.

Newport St. usually operates as a commercial gallery and all of the works in this exhibit are for sale, and prints are available online. So you might be saying to us ‘Observer, but am I just seeing a bunch of wealthy men cashing in on their fame to suck yet more money out of people’? Our answer is ‘OF COURSE YOU ARE’! But Triple Trouble is totally free and a great way to build some brain matter. So it’s a bit like reading this blog, but without severed heads.

Triple Trouble is on now until 26 March. So you have not excuse.

Raging Planet and The Power at Newport Street Gallery

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We just attended the premiere of two exciting new shows at Newport Street Gallery. And by ‘premiere’ we mean ‘the first day’ as people like us don’t get invited to actual premieres. Curated by the son of the man who owns the Gallery, Connor Hirst, in a strange manner the exhibits contrast and relate to one another. 

In the downstairs we find the exhibit ‘Raging Planet’, which is a group show of six different global artists who are endeavouring to incorporate the chaos which is inherent in our planet into their work, mostly by using elements found in the earth. So what we find are swirling, abstract paintings on aluminium. Other paintings feature pigments mixed with sawdust, and in one arresting piece large clumps of mud are painted over in a Franz Klein blue.

For us the best room is the last, where artist Richard Hiornes encrusts sculpture and paintings with copper sulphite crystals. What we see is a giant engine made inert by a residency of crystals and duelling cathedrals in the midst of a crystal invasion. So if what you demand in a show is rocks on the floor and even a small DJ booth, then this could be right up your avenue. You can dance and then fall over on a rock, recreating the experience of many Observer staff at Glastonbury.

More unsettling is the exhibit upstairs, ‘The Power and the Glory’, which is about nuclear weapons testing. We thought it was a strange contrast to the previous exhibit celebrating the earth as opposed to destroying it. The exhibit features a great deal of photos about nuclear weapons tests post WW2 in the Pacific . They are aesthetically pleasing if you can divorce this from their intended purpose, which we struggled to achieve. Mixed in with these are images of Hiroshima and Nagasaki after they were destroyed. 

In the middle of the exhibit we have a beautiful exhibit of what are called ‘scholars rocks’. For centuries they have been collected in East Asia and appreciated by their abstract and wave like forms. As they are also associated with downfall,  one definition of a scholar rock is as a ‘weapon that shatters a dream’. Perhaps this therefore serves as poignant complement to the photos that surround them. 

Raging Planet and The Power and the Glory are on now until 31 August and, like love itself, is totally free. 

Dominion at Newport Street

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Choosing the right career can be tricky when your dad is the artist, collector, and  Newport Street Gallery owner Damien Hirst . But the beneficent Hirst has given his son Connor a helping hand by allowing him to rummage through daddy’s loft space and garage to pull out a bunch of paintings and curate his very own show. The product of Connor’s efforts is now on show for as all to see at Newport Street, located handily in our very shire. 

The curated work of the younger Hirst is called ‘Dominion’, and groups together highlights of Hirst’s mind boggling collection of 20th century paintings. Included are works by Warhol, Emin, Bacon, Banksy, Baselitz, and Koons, to name a few. The theme, like most of Hirst’s work overall, is about the cycle of life, death and redemption. Amid the images of car accidents and electric chairs, you also see the virgin Mary and clowns. Also included is the 1995 work ‘Myra’ by Marcus Harvey. Hugely controversial when it was exhibited at the Royal Academy in 1997, it symbolised the YBA (Young British Artists) of the period, of which Mr. Hurst was one

Dominion evokes memories of Hirst’s excellent 2020 show retrospective ‘End of a Century’ which we reviewed at the time. In an almost peerless display of life imitating art, the exhibit closed suddenly after only a few days due to the death and pain happening in the outside world. In that show he displayed the cycle of life by means embalmed sharks and dead flies. While Dominion is more subtle, it touches on similar themes, nevertheless. 

If you’re a fan of 20th century art and want to give young Mr. Hirst a bit of career boost then it is sliver of time that you won’t regret. Dominion is on now until 1 September, 2024 and is totally free. Newport Street Gallery is open Wednesday to Sunday, 10am to 5pm.

Brian Clarke at Newport St.

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Most of us equate stained glass with ecclesiastical feelings of guilt, forgiveness, penitence and, in our case, parental disappointment that we’ve chosen to work at a publishing house that might not actually exist. However, the newest offering at Vauxhall’s Newport Street Gallery takes stained glass out of the church and challenges us to consider it as a stand alone form of art, and we’ve just checked it out for you. 

Brian Clarke is regarded as the most significant figure working in stained glass today and the current show, ‘A Great Light’, is an overview of his output over the past 20 years. On the ground floor we encounter a quite mesmerising new work called ‘Ardath’, a huge wall of mouth blown glass depicting a floating, flowering meadow in springtime. A selection of Matisse like cut outs complement the work on the opposite wall. The other downstairs rooms feature skulls in a variety of settings. 

Upstairs we are presented first with an aquatic theme, in which a warship and men on a beach appear to be oscillating and moving in dot matrix compositions. The final rooms are the most interesting, and consist of a series of folding screens which possess a kind of ethereal beauty. Screens are intended to prevent us from seeing something, but these screens invite us to look through them with their depictions of jellyfish, heraldry, and flowers. Also in these galleries are smaller, jewel like panels presented on plinths. 

A Great Light is foremost an uplifting and life affirming body of work (in spite of the skulls) and feels quite appropriate for a sunny summer’s day. And if you don’t like stained glass they have an ace selection of merch to make your friends think you’re a real art connoisseur. 

Brian Clark, A Great Light is open now until 24 September at the Newport St. Gallery and is totally free. Just turn up.

Some of the merch

The Currency in Newport St.

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When Time Out, or as we like to call it, ‘that listings site from a bygone era’ described the new show at Newport Street Gallery as ‘stupid, lazy, arrogant, crap art’ we knew we had to get over there as soon as possible.  This very controversial show is called ‘The Currency’ by Damien Hirst and features 10,000 of his dot paintings in several eras of existence. These range from physical paintings to photocopies and then cinder, as the artworks are torched on the first floor. 

For people not aware of Mr. Hirst’s oeuvre, he has spent a large amount of his career preserving dead animals in formaldehyde, sticking diamonds of skulls, and exterminating flies. We reviewed a previous show at Newport in October, 2020.  An abiding theme of Hirst is the repetitive nature of objects and their cycle from inception, to life, to being fetishized and worshiped, and eventual meaningless demise. 

Hirst’s interest in the repetitive nature of dots is well established, and last year he gave 10,000 people the option to buy an NFT .jpg dot painting for £2000. The NFT could then be traded for an original 8×10 work. About half the punters traded it for an original and the remaining suckers  folks stuck with the NFT option. It is these physical works which are on display in monumental floor to ceiling displays and ultimately dispatched into ashen bits above Vauxhall.  

The exhibit is peppered with TV screens featuring live footage of the works being prepped and torched. When the fires aren’t on, there are clips of Mr. Hirst in conversation with actually responsible people such as former Bank of England boss Mark Carney and Stephen Fry, with topics ranging from the absurdity of the art market to the meaningless value of money. Try telling that to the single mum who can’t heat her home at the moment. But we digress. 

Damien Hirst: The Currency is on now until 30 October and is free. Even if you find the theme distasteful, the exhibition itself is quite thought provoking as the paintings/photocopies begin to incrementally disappear. There is also a great gift shop. The fact that over the past 12 months the NFT market has crashed is just a side giggle. However, we at the Runoff would never capitalise of personal loss as that would make us no better than a Florist. 

Keith Cunningham at Newport St. Gallery

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The latest offering over at the Newport Street Gallery is the work of little known and exceptionally gifted artist Keith Cunningham, who mysteriously gave up painting just a few years after he started. Cunningham was on the periphery of the London Group of artists who among their number included Frank Auerbach and Leon Kosoff and the Group were intrigued by Cunningham’s powerful, if not at times gruesome and sinister, subject matter. 

At least there’s no queue for the toilet

Cunningham was certainly a man with something to say, but not very interested who heard him, as many of these 70 works accumulated in his studio as opposed to being seen. He used a very dark and tightly controlled palette of colours with think coats of impasto, giving the works that are not under glass a 3D element, with the added drama of huge brushstrokes. In this manner he captures commuters, rabbits, and even squid. 

At the moment there is an epic retrospective of Francis Bacon’s work at the Royal Academy (north of the river if you dare) and in way Cunningham’s depictions of blood crazed dogs, skulls, and angst is an interesting counterpoint to the great man’s work. It’s possibly not a coincidence that they’re being staged at the same time. 

As you move through the well organised exhibit Cunningham’s  work begins to tilt more towards abstraction and huge blocks of colour. The painting below is a still life. However, it rather reminded us of Phil from the accounts team when he fell over outside the Tommyfield pub after downing eight pints of cider at our Christmas party. 

‘Keith Cunningham, the Cloud of Witness’ is on now until 21 August at Newport Street Gallery and is totally free. 

Voyages at Newport St. Gallery

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The spanking new exhibition at Newport Street Gallery in Vauxhall is called ‘Voyages’ and is the first major show outside the US of the work of New York photorealist Richard Estes. For those of you not in the know, photorealism is the ability to precisely depict a photographed scene by paint. Now you might be saying to yourself ‘then why bother – just because you know how do so something doesn’t mean you should do it’. So a bit like yodeling or skipping. But draw closer and the 45 paintings made over 35 years become abstract and aren’t really photographic at all. 

His best work is on the ground floor and NYC is in the spotlight. Estes makes use out or glass, angles, light, refractions and the constant repetition of this urban field. He also examines people examining other things, such landmarks, cameras and their phones. All of these come together to create something that seems photographically familiar to us but when you get closer to the canvas becomes more like wedges of colour that have been thrown together. 

Upstairs are more traditional landscapes that capture the small, intimate moments of the artist’s adventures. The paintings tend to become less personal and less real when they aren’t populated by human activity but are nevertheless interesting. Touching down in Copenhagen, approaching Antarctica by sea, and exploring the landscapes of New Zealand, Nepal,  and Tanzania all seem even more exotic given that they have been off limits for the past 18 months and you don’t have to take a lateral flow test to see them. 

Richard Estes ‘Voyages’ is open now until 12 December. As ever, Newport Street Gallery is totally free and open Wednesday to Sunday. 


Damien Hirst at Newport St.

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We originally posted this in October 2020, and this thought provoking exhibit closed just a few days afterwards. Newport St. Gallery is opening on Wednesday of next week, again with little fanfare. Once Time Out (if they still exist) and others review this it will sell out very quickly and we cannot reccommend it enough. It is totally free and available for now, but not for long!  Book here.

Without a great deal of fanfare, on Wednesday Newport Street Gallery reopened with  a survey of Damien Hirst’s early work called ‘End of a Century’. The timing of this retrospective might be a coincidence or an intentional and very prescient observation of the world around us in 2020, as Hirst’s early work explored themes of death, healing, life saving medication, infection, and anatomy.  We checked out the show on it’s opening day. 

In the first gallery we were introduced to one of Hirst’s trademark dissected animals; this one being a baby shark in formaldehyde. Moving into the main galleries you might think you’d just wandered into aisle three at Iceland, as there were several freezers stuffed with frozen cow heads (we asked, and they are real). Also on show were Hirst’s trademark medication cabinets and a variety of medical implements. After an enormous anatomical model we’re left to ponder the slightly humorous ‘Shut Up and Eat Your Fucking Dinner’ (pictured at bottom) which was fashioned as a butcher shop window featuring a variety of meats encased in formaldehyde. Is meat murder? 

On the first floor we got to grips with several of Hirst’s spin and dot paintings, with one actually spinning in the room. Surprisingly, there were several cubist inspired collages of found materials which Hirst created before he was a student at Goldsmiths, even then showing his early interest in mortality and resurrection. The most arresting work upstairs was ‘A Hundred Years’, in which a bloody severed cow head is being eaten by maggots who turn into flies who then get executed by  an insect-ocutor. We’re not making this up. 

Some of these works are almost 30 years old and don’t have the shock value they once possessed. But if your artistic taste embraces decapitated cow heads, meat, pills, blood, dead flies, and medical implements then this show will be right up your street. Vegetarians might want to steer clear. And lest you don’t give your mortality much of a thought during the pandemic, this show is a reminder of the profound fragility of organic matter. 

Damien Hirst at Newport St.

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Without a great deal of fanfare, on Wednesday Newport Street Gallery reopened with  a survey of Damien Hirst’s early work called ‘End of a Century’. The timing of this retrospective might be a coincidence or an intentional and very prescient observation of the world around us in 2020, as Hirst’s early work explored themes of death, healing, life saving medication, infection, and anatomy.  We checked out the show on it’s opening day. 

In the first gallery we were introduced to one of Hirst’s trademark dissected animals; this one being a baby shark in formaldehyde. Moving into the main galleries you might think you’d just wandered into aisle three at Iceland, as there were several freezers stuffed with frozen cow heads (we asked, and they are real). Also on show were Hirst’s trademark medication cabinets and a variety of medical implements. After an enormous anatomical model we’re left to ponder the slightly humorous ‘Shut Up and Eat Your Fucking Dinner’ (pictured at bottom) which was fashioned as a butcher shop window featuring a variety of meats encased in formaldehyde. Is meat murder? 


On the first floor we got to grips with several of Hirst’s spin paintings and dot paintings, with one actually spinning in the room. Surprisingly, there were several cubist inspired collages of found materials which Hirst created before he was a student at Goldsmiths, even then showing his early interest in mortality and resurrection. The most arresting work upstairs was ‘A Hundred Years’, in which a bloody severed cow head is being eaten by maggots who turn into flies who then get executed by  an inect-ocutor. We’re not making this up. 

Some of these works are almost 30 years old and don’t have the shock value they once possessed. But if your artistic taste embraces decapitated cow heads, meat, pills, blood, dead flies, and medical implements then this show will be right up your street. Vegetarians might want to steer clear. And lest you don’t give your mortality much of a thought during the pandemic, this show is a reminder of the profound fragility of organic matter. 

End of a Century is on now and until the end of March, 2021. Tickets are free and can be booked here.

Gavin Turk: Who What When Where How & Why at Newport Street Gallery

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We can highly recommend the latest exhibition at Newport Street Gallery, Who What When Where How & Why by Gavin Turk. Gavin is the Beautiful South of the (no longer) Young British Artists – not as well known as Damien Hirst and Tracey Emin, but when you go this exhibition you’ll realise how many of his hits you know.

Here are some snapshots. First up, classic Newport Street Gallery stuff:

Gavin Turk Sid Vicious room at Newport Street Gallery - kenningtonrunoff.com

Gavin Turk demolition block at Newport Street Gallery - kenningtonrunoff.com

We had a genuine “is it art?” moment when we saw one of these bronze rubbish bags outside the lift on the second floor. As in “is it part of the exhibition or has someone just left out a rubbish bag?”.

Gavin Turk rubbish at Newport Street Gallery - kenningtonrunoff.com

Gavin Turk sculptures inc. Pop at Newport Street Gallery - kenningtonrunoff.com

Gavin Turk tramp at Newport Street Gallery - kenningtonrunoff.com

Identity Crisis:

Gavin Turk Identity Crisis - Hello Magazine at Newport Street Gallery - kenningtonrunoff.com

This is genuinely arresting, precisely because it wouldn’t be as arresting as it should be if you saw it on the street:

Gavin Turk sleeping bag at Newport Street Gallery - kenningtonrunoff.com

Finally, Newport Street Gallery’s largest space is an amusing setting for Gavin’s greatest hit, his blue plaque titled Cave:

Gavin Turk Cave plaque at Newport Street Gallery - kenningtonrunoff.com

It’s free entry as always as Newport Street, and it’s open until March 19th (closed Mondays).