Prof Edward Allington
Emeritus Professor of Fine Art
Slade School of Fine Art University College London
London WC1E 6BT
Research Summary
Usually identified with the British object sculptors of the 1980s. Edward Allington's practice is based on drawing and the assimilation of the abhorrent through the use of contemporary artificial objects and classical imagery. Sargant Fellow at the British School at Rome in 1997 and Gregory Fellow in Sculpture 1991-93. He has exhibited in museums and galleries throughout the world, is represented in major collections nationally and internationally and has completed major commissions in the UK, Germany and France. He has written catalogue essays for the Baltic (Ed & Nancy Kienholz) and Tate Modern (Katharina Fritsch) as well as contributing to art magazines such as Frieze. Allington is currently leading a research project into the development of contemporary sculpture in Japan and Korea and is completing a major public commission in Purfleet.
Exhibitions
We are Time: Past and Future Works: at Canary Wharf.
2012Canary Wharf
We are Time: Past and Future Works: at Canary Wharf. presenting 15 sculptures and moquettes, and a series of photographs made in UCl collections: The Petrie Museum, The Grant Museum and The UCL Art Museum
Trees, Small Fires and Japanese Joints
2012Japan House Gallery
A series of drawings of trees, small fires and Japanese joints. Some are based upon the famous screen by Kano Eitoku (1543 – 1590), Cypress. Trees, now in the Tokyo National Museum, some from other Japanese prints, some from observation, and others from comic books and a children’s guide to Japanese carpentry. New work based on original research, part funded by a grant from the Anglo Daiwa Foundation. Three new digital prints,produced Slade Press. Two new works: paper on canvas and 15 new drawings. Web page, invite cards and lefelets. A lecture at the Daiwa Foundation. Also invitation of celebrated Japanese sculptor Kan Yasuda to Slade, followed up by a meeting with him in Japan. Work ( drawing) aquired by the foundation.
Pepples and Avalanches
2010The Crossley Gallery, Halifax, UK
Drawing
The New Hang
2010The Usher Gallery, Lincoln, UK
Drawing
Gallery artists and others
2010The Drawing Gallery, Shropshire, UK
Drawing
An exchange with Le Witt
2010Cabinet, New York, USA
Drawing
Drawing into Painting into Drawing
2009The Drawing Gallery, Shropshire, UK
Drawing
Recent Aquisitions
2009Victoria and Albert Museum, London, UK
Drawing
40 artists 80 drawings
2009The Drawing Gallery, Shropshire, UK
Drawing
Drawing into Painting into Drawing
2008The Drawing Gallery, The Old Chapel, Walford, Leintwardine, Shropshire, SY7 0JT
Drawing Breath: 10 Years of the Jerwood Drawing Prize
2008Royal West of England Academy, Queens Road, Clifton, Bristol, BS8 1PX
Recent Acquisitions
2008City and County Museum, Lincoln, UK
Drawing
Drawing into Painting into Drawing
2008The Drawing Gallery, Shropshire, UK
Drawing
Sculptors Drawings
2008The British Museum, London, UK
Drawing
Artfutures
2008Bloomberg Space, London, UK
Drawing
Recent Aquisitions
2008The British Museum, London, UK
Drawing
Drawing Breath: 10 Years of the Jerwood Drawing Prize
2007National Art School Gallery, National Art School, Forbes St, Darlinghurst, Australia
Drawing Breath: 10 Years of the Jerwood Drawing Prize
2006Wimbledon College of Art, Merton Hall Road, London SW19 3QA
Responding to Rome, British Artists in Rome 1995-2005
2006Estorick Collection of Modern Italian Art, London
Responding to Rome:British Artists in Rome, 1995-2005. A group exhibition at the Estorick Collection, London of selected artworks made by scholars at the British School at Rome during the last decade. One large 150 X 180 cms cut-out colour photograph exhibited. Other artists in the show included: Edward Allington, Adam Chodzko, Hayley Newman, Alison Wilding and Mark Wallinger. Exhibition supported by the Henry Moore Foundation. Catalogue published by The British School at Rome at The British Academy.
40 Drawings by 40 Artists
2005The Drawing Gallery, London
Wunderkammer/The Artificial Kingdom
2005The Collection, The New City and County Museum, Lincoln
Effervescence/La Sculpture 'Anglais' dans les Collections Publique Francais da 1969 à 1989
2005Musee d'Angers, Angers, france
Drawing Two Hundred
2005The Drawing Room, London
Edward Allington
2004Slade Gallery, Slade School of Fine Art, London
The Jerwood Gallery Drawing Prize (Touring)
2004Jerwood Space, London
Tom Bendhem:Collector
2004Ben Uri Gallery, London
Hybrid
2003Art Space, Imperial College London
Edward Allington Tilted Vase and Other Projects
2003Bury Art Gallery and Museum
Other Criteria: Sculpture in 20thC Britain
2003Henry Moore Institute, Leeds
Sculpture in the Close
2003Jesus College Cambridge
The Young Curators (Selected from the Collection of the Irish Museum of Modern Art)
2003Weavers Yard, Dingle, Co Kerry, Ireland
Slade Press at Artlab
2003Artlab, Imperial College London
The Jerwood Drawing Prize 2002
2002University of Gloucester; Jerwood Space, London; MAC Birmingham;
The Unblinking Eye, Lens Based Work from the IMMA Collection
2002Irish Museum of Modern Art, Dublin, Ireland
Blast to Frieze / Britische Kunst in 20 Jahrhundert
2002Kunstmuseum Wolfsburg, Wolfsburg, Germany
Mapping the Process
2002Essor Gallery, London
Contemporary British Sculpture from Goodwood
2002Peggy Guggenheim Collection, Venice, Italy
Import
2000Irish Museum of Modern Art, Dublin
A Tribute to Robert Hopper
2000Yorkshire Sculpture Park, Yorkshire
Bronze: Contemporary British Sculpture Holland Park
2000Holland Park, London
British Sculpture
1999Schlosspark Ambras, Innsbruck, Austria
Den Haag Sculptuur 1999
1999Open Air in the Hague, Den Haag, Holland
British Sculpture
1998Schlosspark Ambras, Innsbruck, Austria
Interactive (An Exhibition of Contemporary British Sculpture)
1998Amerada Hess, London
A Changed World. Sculpture from Britain
1998Johannesburg Art Gallery, Johannesburg, South Africa
A Labour of Love
1998Pallant House Gallery, Chichester
A Cloudburst of Material Possessions
1997Purdy Hicks Gallery, London
Edward Allington
1997The British School at Rome, Italy.
Edward Allington: Pictured Bronzes
1997Yorkshire Sculpture Park, West Yorkshire.
A Process of Living
The City Gallery, Leicester, UKDrawing
Drawing 2009
The Drawing Room, London, UKDrawing
Publications
Plates Which Told Stories
The exotic forms and luscious colors of the plant world and the way in which they infiltrate every aspect of our lives have been a source of inspiration for Rob ...
Curator: New Hang for the reopening of the Usher Gallery, Lincoln
Selecting works from the Ushers collection, chosing and borrowing works from the Tate Gallery and the Arts Council, developing interpretation in consultation with Jeremy Webster the visual art coordinator for Linconlshire County Council.
Ebi and Moulgai Hachioki
Prawn and Mussel chopstick stands
Some Interesting Shell Fish
Bee Brooch and pendantǨ
Bee brooch and pendant
The Bees
12 cast and polished aluminium bees, 100mm long located in the central atrium
Wave Seats
Sun Arch: (with Time Line: one million years in Purfleet)
Lincoln Tree Ring
Gold leafed, sand and lost wax cast bronze ring 600mm in diameter, with polished glass “ diamond” located on a tree in the grounds of The Usher Gallery and The Collection, Lincoln
Wave Motorcycle Barrier, with Wave Shadow
In Some Small Way, explorations in size and scale in recent Japanese sculpture
Maxwell's Silver Hammer
It is an often overlooked fact that someone, somewhere, is physically working to produce the things we use and a good deal of the environment we live in, for good or bad; that virtually every thing we know is a product of human labor. The essay tries to address this by looking at tools, and focuses on some varieties of that simple but essential tool, the hammer a tool whose origins are prehistoric. It looks at woodworking hammers, at stone-breaking and cutting hammers, and finally at some of the hammers used in metalworking. The list is by no means definitive, but hopefully gives a broad understanding of how versatile this tool is, and also how it has been carefully adapted to suit different materials. The essay ends by referring to mythical hammers, most specifically Mjolnir the "murder greedy."
Maxwells Silver Hammer
Airfix Lifeboat
Digital Print on A2 Hahnammuhle photorag paper
lead biro
cast lead
Apprentice Indenture
Digital Print on A2 Hahnammuhle photorag paper
From My Cold Dead Hand, or metamatics, the removed gesture and Louise Montalesot’s painting machine
These are just some of the questions brought up by this unique and unusual collection of essays, which presents subjects and categories often overlooked by the ...
Some Interesting Cheques
Digital Print on A2 Hahnammuhle photorag paper
The Lost Landscapes
A Flat Trophy for all round good work
I Have Reasons, work and writing 1993-2007
Lead Pencil
cast lead
Curwen's Column
The Shap
Portico and Column of Rails, and two groups of artist designed seating.
A major regeneration project in Workington West Cumbria . Two major public sculptures: Portico and Column of Rails, and two groups of artist designed seating. The project involved full discussion with the local heritage group, and with local manufacturers.
Column of Rails
The Clouds
Monument to the Origins of Medicine
For Your Pleasure/Or Notes on Public Art From Someone Else's Memory Of A Silver Cloud in Waves
She Rode One Of The Wonder Horse Triggers
Monument to the Origins of Medicine
In The Beginning
About Time
Algorithm
The Manners of Making and the Useful Bench
Drawing System 1
The Ugly Truth
Successful Clouds, Edward Allington on Douglas Huebler
Dream Machines
The Same Hare
Tree Ring/Engagement Tree
Picture: Belle du Jour
On the Road Again
Buddha Built my Hot Rod
A Method for Sorting Cows, Edward Allington Essays 1993-97
Bronze Fountain
Title of paper: Thinking with our hands, or the continuity of labour/ craft and the continuity of forgetting about labour/ craft
I Have Reasons: Work and Writing
Radio Broadcast
Convener Group 24: Tools of Trade: Articulating Sculptural Practice
Curator: Wunderkammer
Lead Artist: HULL LIFT NHS
This was a complex project instigated by Elaine Burke who was the arts officer, on the basis of research which clearly established the therapeutic benefit to patients, of a good environment, and contemporary works of art. It was a scheme which involved various partners, initially the project encompassed only part of the scheme but due to the success of the first completed schemes we were asked to extend our commitment. Eventually our project covered six new design and build health care centres in Hull