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Neal Tait
   > bio
   > works

Lotte Van De Walle
Born 1965 in Edinburgh
Lives and works in London

EDUCATION
1991-1993 MA, Royal College of Art, London
1987-1991 BA, Chelsea School of Art, London

SOLO EXHIBITIONS
2013
Neal Tait, Peles Empire, London
Neal Tait, Galleria Marabini, Bologna
2012
The Battle for Middle You, Simon Oldfield, London
2009
Les Toits de Parise, White Cube, London
2008
Neal Tait, Sies + Höke Gallery Düsseldorf
Neal Tait : “Drawings, North Gallery”, ACME, Los Angeles, CA
Neal Tait, The Dressmaker Who Lived on The Outskirts, Tanya Bonakdar Gallery, New York
2007
Tambalamb, ACME, Los Angeles
Like Leaves, Tanya Bonakdar Gallery, New York
2006
Dark Mutter, MDD (Museum Dhondt-Dhaenens), Deurle
Now is the discount of our winter tents, White Cube, London
2005
Neal Tait, Sies + Höke Galerie, Dusseldorf
2004
Der Gute Schmerz, Sies + Höke, Dusseldorf
Neal Tait, Monica de Cardenas, Milan
2003
The Burnished Ramp, White Cube, London
2002
Neal Tait, Douglas Hyde Gallery, Dublin
Neal Allen Tait, Sies + Höke Galerie, Düsseldorf
2000
Painting, White Cube, London
1993
Cottage, Union Street, London
 
GROUP EXHIBITIONS
2011
Antje Majewski: The World of Gimel. How to Make Objects Talk, Kunsthaus Graz, Austria
A Terrible Beauty is Born, 11th Biennial of Lyon, Lyon
Among Flesh, Alison Jacques, London
Der Menschen Klee, Kunst Im Tunnel, Dusseldorf
Watercolour, Tate Britain, London
2010
The Milkplus Bar, Josh Lilley Gallery, London
Kupferstichkabinett – Between Thought & Action, White Cube, London
Once, Removed , Apartment Gallery, Athens
What Have I Done? , Fine Art Society, London
2009
TURPS BANANA 1, Galleria Marabini, Bologna
TURPS BANANA 2, Galleria Marabini, Milan
2008
Paintings: 1936-2008, The Approach, London
2007
Very Abstract and Hyper Figurative, Thomas Dane, London
Tugboat, ACME., Los Angeles
2006
About Painting, Paraplufabriek, Nijgmegen
I walk the lines, Galerie Barbara Thumm, Berlin
Motion on Paper, Ben Brown Fine Arts, London
2005
Hoch Hinaus, Kunstmuseum Thun, Thun
Painting London, Holly Snapp Gallery, Venice
Summer Exhibition 2005, Royal Academy, London
2004
Sidelonging, 117 Commercial Street, London
Yesvember, The House Gallery, London
Seldom Seen in New York, Stefan Stux, New York
Direct Painting, Kunsthalle Mannheim, Mannheim
Eclipse: Towards the Edge of the Visible, White Cube, London
She’s Come Undone, Artemis Greenberg Van Doren, New York
Atomkreig, Kunsthaus Dresden, Dresden
2003
The Lone Ranger, James Colman, London
Dirty Pictures, The Approach, London
2002
Painting on the Move, Kunsthalle Basel, Basel
In the Freud Museum, Freud Museum, London
2001
Depiction, Steirischerbst, Graz, Austria
2000
Drawings, Sommer Contemporary Art, Tel-Aviv
Salon, Delfina Project Space, London
Hellseher, Konkordiastr, Dusseldorf
no.site.specific, Mellow birds, Underwood Street, London
Cheated, A22 Projects, Laystall Street, London
1999
Limit-less, Krinzinger Gallery, Vienna
1998
Rising Scum, Fab-Co Warehouse, Brixton, London
1997
Election Night, Poster Gallery, London (collaboration)
1996
Untitled, Mallow Street, London
1995
Unplugged, Peckham Road, London
1994
Miniatures, The Agency, London
1993
Whitworths Young Contemporaries, Manchester
Riverside Open, Riverside Studios, London
XIXI, Henry Moore Gallery, Royal College of Art, London
1991
Germinations, Lugwig Forum, Aachen, Germany; Budapest, Hungary
1990
Arteries, Huntington Gallery, Boston
Riverside Open, Riverside Studios, London
1989
Whitworths Young Contemporaries, Manchester
1988
Spirit of London, South Bank Centre, London

AWARDS
2001 Residency British School at Rome
1993 Henderson & Parkinson Travel Award


Bear in mind that Tait has extraordinary facility as a draughtsman and as a colourist. He can make lyrical dreamlike things replete with gorgeous curving lines; if he’s refusing to do so here, going instead for pace and fire and gristle, that’s as true to his volatile artistic personality as his more recent rococo compositions were an evolving reaction to his earlier enigmatic single-figure paintings, and as has been his decision, when including threedimensional works in his exhibitions, to put them there as literal stumbling blocks, things to get in his audience’s way. The issue at hand is how one keeps a practice alive—and, by extension, how combined efforts in that direction keep painting vitalised. Acrylic is a resistance or constraint, just as is trying to put a genuine heartbeat into timeworn modernist imagery; or—as Tait sometimes likes to do—making work with a geographical location in mind; or, more largely, resisting the desire to make slicker variations on what has gone before.
Martin Herbert 2012
 
 

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