Fiona Rae
Press release
The Buchmann Galerie is delighted to present a solo show with new works by British painter Fiona Rae (*1963 in Hong Kong, lives in London).
In the last 25 years Fiona Rae has created an impressively diverse œuvre, exploring and expanding abstract painting in her own distinctive and original way.
When talking about her work, she often says she is more interested in the process of painting than in the finished image. This makes perfect sense when we visualize her various groups of work. Rae succeeds repeatedly in developing fresh starting points, out of which the next set of ideas can then evolve. Over the years, six or seven series of paintings have emerged in this way.
The paintings in this exhibition provide an insight into the most recent group of works by Fiona Rae, begun in 2014 with a number of charcoal drawings. These drawings were presented in the Buchmann Box in autumn 2014. It is fascinating to be able to see the path the artist has followed since then.
All the large paintings have a narrow vertical format, seldom used before by Rae, and measure 183 x 129.5 cm. This makes it possible for the painter to maintain control over the entire canvas from a single standpoint; she is able to cover the whole canvas with one sweep of a brush.
The intense calligraphic lines radiate with the same force from the canvas as we find in the drawings. They seem spontaneous and yet at the same time placed with discipline and precision. In a comparable way to the works on paper, the new paintings also seem to have evolved in one energetic spell of activity; they have very few overpainted areas. Accordingly, Rae works on only one painting at a time, in contradistinction to earlier series where paintings would often be developed simultaneously.
Another definitive difference from all the other groups of works to date is the exclusive use of black, white and grey in several works. The reduction of the colour palette brings an almost liberating effect, creating a new concentration and dynamism in the constellation of figure and ground, surface and line. It is interesting that Rae, after producing an initial group of greyscale paintings, has proceeded to re-introduce colour in parallel with this approach, albeit with colours that are far more restrained than in many previous paintings. Despite these changes, Fiona Rae’s signature remains clearly recognizable in these new works, evidence of the many visual codes and tropes she has developed and made her own over the years.
As regards the titles for the new paintings, the painter has again decided in favour of a novel approach. After having given poetic titles to the paintings in the previous series, such as Maybe you can live on the moon in the next century or The very once-in-a-lifetime moment, Rae now uses a taxonomic system for the new paintings: Figure 1a, Figure 1b, etc. In this way she creates a distance between the painting and the title, enabling us to concentrate on contemplating the pure painting.
These new paintings make clear what Fiona Rae means when she says: “I see these paintings as suggesting the presence of a figure, whilst simultaneously insisting on its absence; the paintings remain abstract. I want the urgency of paint marks and gestures made only by the hand; the need to make a mark that goes back thousands of years.”
Works by Fiona Rae are represented in numerous public collections, amongst them the Tate Collection UK, the Centre Pompidou Paris, the Hamburger Bahnhof Berlin, the Hirshhorn Museum Washington D.C. and the Mudam Luxembourg.
For additional information on the artist or for visual materials on the works in the exhibition, please do not hesitate to contact the gallery at any time
Pressemitteilung
Die Buchmann Galerie freut sich, eine Einzelausstellung mit neuen Arbeiten der britischen Malerin Fiona Rae (*1963 in Hongkong, lebt in London) zu präsentieren.
Fiona Rae hat in den letzten 25 Jahren ein beeindruckend vielfältiges Werk geschaffen, das die abstrakte Malerei auf ganz unterschiedliche und eigenständige Weise ausgelotet und erweitert hat.
Spricht sie über ihre Arbeit, sagt sie oft, eher an dem Prozess des Malens, als an dem fertigen Bild interessiert zu sein. Führt man sich die unterschiedlichen Werkgruppen vor Augen, ist das schlüssig. Immer wieder gelingt es Rae, ihre Malerei auf einen neuen Ansatzpunkt hin zu entwickeln, von dem aus eine weitere Werkgruppe entsteht. Über die Jahre sind auf diese Weise zwischen sechs und sieben Gruppen entstanden.
Die Bilder in der Ausstellung geben erstmals einen Einblick in die neueste Werkgruppe von Fiona Rae, die 2014 mit einer Reihe von Kohlezeichnungen ihren Anfang nahm. Die Kohlezeichnungen wurden im Herbst 2014 in der Buchmann Box präsentiert. Entsprechend interessant ist zu sehen, welchen weiteren Weg die Künstlerin seither gegangen ist.
Die neuen größeren Bilder haben alle ein schlankes vertikales Format von 183 cm x 129,5 cm, das Rae bislang selten verwendet hat. Damit ist es der Malerin möglich, von nur einem Standpunkt aus die gesamte Fläche der Leinwand zu kontrollieren. Sie könnte mit nur einem Pinselschwung die ganze Leinwand überziehen.
Die Intensität der kalligrafischen Linien auf der Leinwand hat die gleiche Kraft wie in den Zeichnungen. Sie wirken spontan und gleichzeitig auch kontrolliert und präzise gesetzt. Vergleichbar mit den Papierarbeiten haben die neuen Bilder zudem kaum übermalte Partien, sondern scheinen in einem energetischen Zug entstanden zu sein. Fiona Rae arbeitet entsprechend an jeweils immer nur einem Bild. Das ist ein ganz anderer Prozess, als in früheren Werkgruppen, wo die Bilder parallel entstanden sind.
Ein weiterer entscheidender Unterschied zu allen bisherigen Werkgruppen ist die in mehreren Arbeiten ausschließliche Verwendung von Schwarz, Weiss und Grau. Die Reduktion der Farbpalette wirkt beinahe befreiend und schafft eine neue Konzentration und Dynamik auf die Konstellation von Figur und Grund, Raum, Fläche und Linie. Interessant ist, dass Fiona Rae nach einer ersten Gruppe von Greyscale Bildern parallel dazu über ging, doch auch wieder Farbe einzubringen, die allerdings weitaus zurückhaltender ist, als in früheren Werkgruppen. Deutlich erkennbar bleibt Fiona Raes Handschrift mit den vielen den visuellen Codes, die sie über die letzten Jahre entwickelt hat.
Bei den Titeln der neuen Bilder hat sich die Malerin ebenfalls für einen neuen Ansatz entscheiden. Nachdem sie den Arbeiten der letzten Werkgruppe noch imaginative Titel zuwies wie Maybe you can live on the moon in the next century oder The very-once-in-a-lifetime moment, betitelt Rae die neuen Bilder mit einem Referenzsystem: Figure 1a, Figure 1b usw. Damit schafft sie eine Distanz zwischen Bild und Titel, die die Konzentration auf die Betrachtung der reinen Malerei ermöglicht.
Die neuen Bilder machen deutlich, was Fiona Rae meint, wenn sie sagt: „In meinen Augen erwecken diese Bilder den Eindruck einer Figur während sie gleichzeitig auf dessen Abwesenheit drängen; die Malerei bleibt abstrakt. Ich will die Kraft der Farbspuren und Gesten, nur von Hand gemacht; das Bedürfnis eine Spur zu setzen, die tausende von Jahren zurückreicht.“
Die Arbeiten von Fiona Rae sind in zahlreichen öffentlichen Sammlungen vertreten, u. a. in der Tate Collection UK, dem Centre Pompidou Paris, dem Hamburger Bahnhof Berlin, dem Hirshhorn Museum Washington D.C. und dem Mudam Luxembourg.
Für weitere Informationen über die Künstlerin und für Bildmaterial zu den Arbeiten in der Ausstellung können Sie sich gerne jederzeit mit der Galerie in Verbindung setzen.
Fiona Rae
| 2020 |
Moszynska, Anna, World of Art: Abstract Art, London, UK: Thames & Hudson Ltd
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| Reason Gives No Answers: Selected Works from the Collection (exhibition catalogue), text by William S.Burroughs, London, UK: Other Criteria Books | |
| 2018 |
Fiona Rae (exhibition catalogue), text by Gilda Williams, Seoul, Korea: Hakgojae Cheongdam
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| Content is a Glimpse (exhibition catalogue), text by Jurriaan Benschop, Berlin, Germany: Efremidis Gallery | |
| Cahill, James, Ways of Being: Advice for Artists by Artists, London, UK: Laurence King Publishing Ltd | |
| 250th Summer Exhibition Illustrated 2018 (exhibition catalogue), edited by Grayson Perry, London, UK: Royal Academy of Arts | |
| 2017 |
Marr, Andrew, A Short Book about Painting, London, UK: Quadrille Publishing Ltd |
| Summer Exhibition Illustrated 2017: A Selection from the 249th Summer Exhibition, (exhibition catalogue), text by Richard Davey, London, UK: Royal Academy of Arts | |
| 2016 |
Fiona Rae (exhibition catalogue), text by André Buchmann, Berlin, Germany: Buchmann Galerie |
| Summer Exhibition Illustrated 2016: A Selection from the 248th Summer Exhibition (exhibition catalogue), edited by Richard Wilson, London, UK: Royal Academy of Arts | |
| Fullerton, Elizabeth, Artrage! The Story of the Britart Revolution, London, UK: Thames & Hudson | |
| Getlein, Mark, Living with Art, Eleventh Edition, USA: McGraw Hill | |
| Sayre, Henry M., A World of Art, Eighth Edition, Oregon State University-Cascades Campus, USA: Prentice Hall | |
| Hickey, Dave, 25 Women: Essays on their Art, Chicago, USA: The University of Chicago Press | |
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2015 |
Summer Exhibition Illustrated 2015: A Selection from the 246th Summer Exhibition (exhibition catalogue), text by Richard Davey, London, UK: Royal Academy of Arts
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Fiona Rae (exhibition catalogue), interview by Martin Herbert, London, UK: Timothy Taylor Gallery |
| Imagining a University: Fifty Years of the University of Warwick Art Collection (exhibition catalogue), texts by Liz Dooley, Eleanor Nairne, Alan Powers, Sara Selwood, Sarah Shalgosky and Beth Williamson, Warwick, UK: Mead Gallery | |
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2014 |
Rutka, Fiona and Maureen Cross, “The Making of Fiona Rae, RA: In Conversation with a Young British Artist.” Immediations Vol. 3 No.3. London, UK: The Courtauld Institute of Art |
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Williams, Gilda, How to Write About Contemporary Art, London, UK: Thames & Hudson |
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(detail) (exhibition catalogue), essays by Andrew Bracey, Simón Granell, Brian Curtin, James Elkins, David Ryan, London, UK: Transition Editions |
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Here Today... (exhibition catalogue), essay and artist texts by Dr. Alison Bracker, London, UK: Artwise Curators |
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As I run and run, happiness comes closer (exhibition catalogue), foreword by Angélique Aubert, text by Jérôme Sans, interview with Fiona Rae, Paris, France: Emerige |
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Between Worlds (exhibition catalogue), text by Jane Neal, Mumbai, India: Galerie Isa |
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Within/Beyond Borders: The Collection of the European Investment Bank at Banco de Portugal (exhibition catalogue), text by Delphine Munro, Lisbon, Portugal: Banco de Portugal |
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Painter, Painter: Dan Perfect, Fiona Rae (exhibition catalogue), texts by Martin Herbert, introduction by Tristram Aver, Nottingham, UK: Nottingham City Museums & Galleries |
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Frieze Art Fair, London 2014, text by Martin Herbert, London, UK: Frieze |
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Prelude #1: Morceaux choisis d’une collection par Laurent Dumas, interview with Laurent Dumas by Marie Maerten, Paris, France: ADAGP |
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Roles, John, Leeds Museums and Galleries: Director's Choice, London, UK: Scala |
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Summer Exhibition Illustrated 2014: A Selection from the 246th Summer Exhibition (exhibition catalogue), text by Richard Cork, London, UK: Royal Academy of Arts |
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2013 |
Donation Florence et Daniel Guerlain - dessins contemporains (exhibition catalogue), texts by Jonas Storsve, Antonio Mirabile and Julien Brochier, foreword by Alain Seban, preface by Alfred Pacquement, Centre Pompidou, Paris, France: Editions du Centre Pompidou |
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Encounter: The Royal Academy in the Middle East (exhibition catalogue), texts by David Thorp, Dr Kathy Battista and Sa'id Costa, London, UK: Royal Academy of Arts |
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Getlein, Mark, Living with Art, Tenth Edition, USA: McGraw Hill |
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Corwin, William, Prophetic Diagrams (online exhibition catalogue), London, UK: George and Jørgen |
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2012 |
Arnason, H. Harvard, and Elizabeth Mansfield, History of Modern Art: Painting, Sculpture, Architecture, Photography, 7th ed. London, UK: Laurence King Publishing Ltd. |
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Encounter: The Royal Academy in Asia (exhibition catalogue), texts by David Thorp and Dr Charles Merewether, London, UK: Royal Academy of Arts |
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Meanings of Abstract Art, Between Nature and Theory, edited by Paul Crowther and Isabel Wünsche, London, UK: Routledge |
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Frieze Art Fair, London 2012, text by Sally O’Reilly, London, UK: Frieze |
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RA Now (exhibition catalogue), text by Mel Gooding, introduction by Christopher Le Brun, London, UK: Royal Academy of Arts |
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Sayre, Henry M., A World of Art, Sixth Edition, Oregon State University-Cascades Campus, USA: Prentice Hall |
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Sanctuary: Britain’s Artists and their Studios, texts by Hossein Amirsadeghi, Iwona Blazwick, Richard Cork and Tom Morton, London, UK: TransGlobe Publishing |
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London Twelve (exhibition catalogue), texts by Toby Clarke and Olga Malá, Prague, Czech Republic: City Gallery Prague |
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Fiona Rae: Maybe you can live on the moon in the next century (exhibition catalogue), text by Gilda Williams, introduction by Sarah Brown, Leeds, UK: Leeds Museums and Galleries |
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Summer Exhibition Illustrated 2012: A Selection from the 244th Summer Exhibition (exhibition catalogue), text by Tess Jaray, London, UK: Royal Academy of Arts |
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2011 |
American and European Painting from the Marx Collection (exhibition catalogue), texts by Eugen Blume, Lena Hennewig, Lech Karwowski, Magdalena Lewoc, Erich Marx and Katharina Schlüter, Szczecin, Poland: National Museum in Szczecin |
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Making a Scene (exhibition catalogue), text by Eleanor Nairne, Southampton, UK: Southampton City Art Gallery |
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Colección de Pintura Contemporánea Internacional (exhibition catalogue), texts by José María Arias Mosquera, David Barro and María de Corral, A Coruña, Spain: Fundación Barrié |
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Within/Beyond Borders (exhibition catalogue), text by Delphine Munro, Athens, Greece: Byzantine and Christian Museum, Athens |
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Between Film and Art - Storyboards from Hitchcock to Spielberg (exhibition catalogue), texts by Katharina Henkel, Kristina Jaspers, Peter Mänz, Andreas C. Knigge, Lena Nievers and Nils Ohlsen, Emden, Germany: Kunsthalle Emden |
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Fiona Rae (exhibition catalogue), interview by Dan Perfect, Berlin, Germany: Buchmann Galerie |
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Royal Academy Illustrated 2011: A Selection from the 243rd Summer Exhibition (exhibition catalogue), text by Richard Cork, London, UK: Royal Academy of ArtsFiona Rae (exhibition catalogue), text by Richard Shone, London, UK: Waddington Galleries |
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2010 |
Pooke, Grant, Contemporary British Art: An Introduction, London, UK: Routledge |
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Pooke, Grant and Whitham, Graham, Understand Contemporary Art, London, UK: Hodder Education |
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Barret, Terry, Making Art: Form and Meaning, New York, USA: McGraw-Hill Publishers |
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Cohen, Stewart, Identity: A photographic meditation from the inside out, Dallas, USA: Dream Editions Press |
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Fiona Rae: Special Fear! (exhibition catalogue), text by Marc Glimcher, New York, USA: PaceWildenstein |
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Art; curated by Michael Craig-Martin (exhibition catalogue), Berlin, Germany: Galerie Haas und Fuchs |
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50 Years at Pace (exhibition catalogue) texts by Arne Glimcher et al. New York, USA: The Pace Gallery |
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Royal Academy Illustrated 2010: A Selection from the 242nd Summer Exhibition (exhibition catalogue), texts by Stephen Chambers and Richard Cork, London, UK: Royal Academy of Arts |
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2009 |
As I run and run, happiness comes closer (exhibition catalogue), text by Nicolas Bourriaud, Paris, France: Galerie Nathalie Obadia |
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Plastic Culture: Legacies of Pop 1986–2008, (exhibition catalogue), texts by Roger Cook and Richard Kirwan, Preston, UK: Harris Museum and Art Gallery |
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Glyndebourne Festival Opera: 75th Anniversary (festival catalogue), Joanna Townsend (ed.), text by Emma Dexter, Lewes, East Sussex, UK: Glyndebourne |
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Painting Today, Tony Godfrey (ed.), London, UK: Phaidon |
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Arnason, H. Harvard, and Elizabeth Mansfield, History of Modern Art: Painting, Sculpture, Architecture, Photography, 6th ed. London, UK: Laurence King Publishing Ltd. |
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2008 |
Fiona Rae (exhibition catalogue), text by Matthew Collings, London, UK: Timothy Taylor Gallery |
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Toff, Dennis, The Painter RAs, London, UK: Unicorn Press |
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Rowan, Tiddy, Art in the City: London, London, UK: Quadrille |
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Rowan, Tiddy, Art in the City: Paris, London, UK: Quadrille |
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History in the Making: A Retrospective of the Turner Prize, text by Kondo Kenichi, Japan: Mori Art Museum |
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Paixóns Privadas, Visions Publicas (exhibition catalogue), text by Javier Fuentes Feo, Vigo, Spain: Museo de Arte Contemporánea de Vigo |
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2007 |
De leur temps (2) Art contemporain et collections privées en France (exhibition catalogue), text by Philippe Piguet, Grenoble, France: Musée de Grenoble |
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Oil Paintings in Public Ownership in the Government Art Collection, Sonia Roe (ed.), London, UK: The Public Catalogue Foundation |
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Open Space: Art in the Public Realm in London 1995–2005, Jemima Montagu (ed.), London, UK: Arts Council England and Central London Partnership |
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Reset: Werke aus der Sammlung Marx, Eugene Blume and Anette Husch (eds.), Berlin, Germany: Hamburger Bahnhof - Museum für Gegenwart |
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Royal Academy Illustrated 2007 (exhibition catalogue), Bill Woodrow (ed.), London, UK: Royal Academy of Arts, London, UK |
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The Turner Prize. Revised Edition, Virginia Button, London, UK: Tate Publishing |
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2006 |
1001 Paintings You Must See Before You Die, texts by Geoff Dyer, Stephen Farthing, Jamie Middleton et al. London, UK: Cassell |
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Fiction @ Love (exhibition catalogue), texts by Victoria Lu, Lim Qinyi and Kim Sunhee, Shanghai and Singapore: Museum of Contemporary Art; Singapore Art Museum |
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Fiona Rae: You are the Young and the Hopeless (exhibition catalogue), text by Dave Hickey, New York, USA: PaceWildenstein |
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New Art on View, London, UK: Scala Publishers, Ltd. |
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Pictograms: The Loneliness of Signs (exhibition catalogue), texts by Marion Ackermann, Pirkko Rathgeber, Theodora Vischer, Hadwig Goez, Cara Schweitzer, Daniela Stöppel, Wolf Tegethoff, Ulrich Wilmes, Georges Didi-Huberman and Tanja Zimmermann, Munich & Berlin, Germany: Deutscher Kunstverlag |
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Tate Modern: The Handbook, Frances Morris (ed.), texts by Michael Craig-Martin, Andrew Marr and Sheena Wagstaff, London, UK: Tate Publishing |
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2005 |
Baroque and Neobaroque/ The Hell of the Beautiful (exhibition catalogue), Salamanca, Spain: DA2 Domus Atrium |
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Blumenstück Künstlers Glück: Vom Paradiesgärtlein zur Prilblume (exhibition catalogue), texts by Gerhard Finckh, Gerhard Graulich, Alexandra Kolossa, Julia Lenz and Ute Riese, Leverkusen, Germany: Museum Morsbroich |
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Colours and Trips (exhibition catalogue), text by Oliver Zybok, Bregenz, Austria: Kunstlerhaus Palais Thurn and Taxis |
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Fiona Rae: Grotto (exhibition catalogue), text by Ralf Christofori, Cologne, Germany: Buchmann Galerie |
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No. 1: First Works by 362 Artists, Francesca Richer and Matthew Rosenzweig (eds.), New York, USA: Distributed Arts Publishers, Inc. |
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2004 |
Fiona Rae: Swag (exhibition catalogue), text by Morgan Falconer, Paris, France: Galerie Nathalie Obadia |
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Tate Women Artists, text by Alicia Foster, London, UK: Tate Gallery Publishing |
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2003 |
Arts Council Collection Acquisitions 1989 – 2002, texts by Marjorie Allthorpe-Guyton, Susan Ferleger Brades and Isobel Johnstone, London, UK: Hayward Gallery Publishing |
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A Bigger Splash: British Art from Tate 1960–2003 (exhibition catalogue), São Paulo, Brazil: Connects Cultura |
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Art at Regents Place, text by Andrea Schlieker, London, UK: The British Land Company |
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Eliasch, Amanda, British Artists At Work, texts by Gemma de Cruz, Kay Hartenstein-Saatchi and Martin Maloney, New York, USA: Assouline Publishing |
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Fiona Rae: Hong Kong Garden (exhibition catalogue), text by Jennifer Higgie, London, UK: Timothy Taylor Gallery |
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New Abstract Painting/ Painting Abstract Now (exhibition catalogue), text by Ute Riese, Leverkusen, Germany: Museum Morsbroich |
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Painting Pictures: Painting and Media in the Digital Age (exhibition catalogue), texts by Annelie Lütgens, Frank Reijnders, Walter Seitter, Knut Ebeling, Ludwig Seyfarth, Raimar Stange, Wolf Jahn and Holger Broeker, Bielefeld, Germany: Kerber Verlag |
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Talking Pieces: text und bild in der neuen kunst (exhibition catalogue), text by Ute Riese, Leverkusen, Germany: Museum Morsbroich |
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L'ABCdaire de l'Art contemporain, Nathalie Bec (ed.), texts by Catherine Francblin, Damien Sausset and Richard Leydier, Paris, France: Flammarion |
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2002 |
The Rowan Collection: Contemporary British and Irish Art (exhibition catalogue), texts by Virginia Button and Brenda McParland, Dublin, Ireland: Irish Museum of Modern Art |
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Adams, Dennis, Acquisitions 1992–2001, Rochechouart, France: Musée départemental d'art contemporain de Rochechouart |
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Fiona Rae (exhibition catalogue), texts by Jean-Pierre Criqui and Simon Wallis, interview by Simon Wallis, Nîmes, France: Carré d’Art - Musée d’art contemporain de Nîmes |
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2001 |
Catalogo de la Colleccion De Arte Contemporaneo Fundación ‘La Caixa’, Maria de Corral and Josep Vilarasau (eds.), Barcelona, Spain: Fundación ‘La Caixa’ De Pensiones |
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Fig-1: 50 Projects in 50 Weeks (exhibition catalogue), Mark Francis, Cristina Colomar and Christabel Stewart (eds.), interview by Mark Francis, London, UK: fig-1 2000 Ltd. and Spafax Publishing |
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Hybrids: International Contemporary Painting (exhibition catalogue), text by Simon Wallis, Liverpool, UK: Tate Publishing |
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AXA Art Corporate Collecting Today, texts by Claus-Michael Dill and Klaus Gallwitz, Cologne, Germany: AXA Art Versicherung AG |
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2000 |
Europe: Different Perspectives in Paintings (exhibition catalogue), Francavilla al Mare, Italy: Museo Michetti |
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Modern Art, texts by Sam Hunter, John Jacobus, and Daniel Wheeler, New York, USA: The Vendome Press |
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Sinclair, Nicholas, Portraits of Artists, texts by Ian Jeffrey and Nicholas Sinclair in conversation with Robin Dance, Aldershot, Hampshire, UK: Lund Humphries |
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1999 |
'45–99: A Personal View of British Painting and Sculpture (exhibition catalogue), text by Bryan Robertson, Cambridge, UK: Kettle’s Yard Gallery |
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Artists. Photographs by Gautier Deblonde, text by Mel Gooding, London, UK: Tate Gallery Publishing, Ltd. |
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Colour Me Blind! Painting in the Age of Computer Games and Comics (exhibition catalogue), text by Ralf Christofori, Stuttgart, Germany: Württembergischer Kunstverein |
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Fiona Rae (exhibition catalogue), text by Michael Tarantino, Nagoya, Japan: Kohji Ogura Gallery |
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Stallabrass, Julian, High Art Lite: British Art in the 1990s, London, UK and New York, USA: Verso |
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Reconciliations: Elizabeth Cooper, Stephen Davis, Fiona Rae, Juan Uslé (exhibition catalogue), text by Jeffrey Hoffeld, New York, USA: DC Moore Gallery |
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Vision: Fifty Years of British Creativity, London, UK: Thames & Hudson |
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Young British Art: The Saatchi Decade, texts by Sarah Kent, Richard Cork and Dick Price, London, UK: Booth-Clibborn Editions |
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1998 |
UK Maximum Diversity (exhibition catalogue), Brian Muller (ed.), Vienna, Austria: Galerie Krinzinger |
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1997 |
Confrontation (exhibition catalogue), Paris, France: Galerie Nathalie Obadia |
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Fiona Rae / Gary Hume (exhibition catalogue), text by Sarah Kent, London, UK: Saatchi Gallery |
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Collings, Matthew, Blimey! From Bohemia to Britpop, the London Artworld from Francis Bacon to Damien Hirst, Cambridge, UK: 21 Publishing |
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Buck, Louisa, Moving Targets: A User’s Guide to British Art Now, London, UK: Tate Gallery Publishing |
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Sensation: Young British Artists from The Saatchi Collection (exhibition catalogue), texts by Brooks Adams, Norman Rosenthal, Richard Shone, Martin Maloney and Lisa Jardine, London, UK: Thames and Hudson in association with the Royal Academy of Arts |
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Shand Kydd, Johnnie, Spit Fire: Photographs from the Art World, London, 1996/7, London, UK and New York, USA: Thames and Hudson; Violette Editions |
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Button, Virginia, The Turner Prize, London, UK: Tate Gallery Publishing |
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Treasure Island (exhibition catalogue), Lisbon, Portugal: Fundação Calouste Gulbenkian |
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Rue Descartes / 16, Pratiques abstraits, Catherine Perret (ed.), France: Collège International de Philosophie, Imprimerie des Presses Universitaires de France |
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1996 |
About Vision: New British Painting in the 1990s (exhibition catalogue), includes artist statement, Oxford, UK: Museum of Modern Art |
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Fiona Rae (exhibition catalogue), text by Richard Shone, interview by Daniel Richter, Berlin, Germany: Contemporary Fine Arts |
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Made In London: A Collection of Works by London Based Artists Made in the 1990s, London, UK: Simmons and Simmons |
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Nuevas Abstracciones (exhibition catalogue), Díaz de Rábago, Belén (ed.), Belén Díaz de Rábago (ed.), texts by Enrique Juncosa, Arthur C. Danto and Demetrio Paparoni, Madrid and Barcelona, Spain: Museo Nacional Centro de Arte Reina Sofía; Museu d’Art Contemporani de Barcelona |
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Schmitz, Britta, ‘Fiona Rae’, Sammlung Marx, Berlin, Germany: Hamburger Bahnhof - Museum für Gegenwart |
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The 20th-Century Art Book, London, UK: Phaidon Press |
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The Berardo Collection, texts by Sarah Wilson, Marco Livingstone, Ann Hindry, Robert Rosenblum and Alexandre Melo, Sintra, Portugal: Sintra Museum of Art |
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Morgan, Stuart, ‘Fiona Rae: Playing for Time’, What the Butler Saw, Ian Hunt (ed.), London, UK: Durian Publications |
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Chadwick, Whitney, Women, Art, and Society. 2nd ed., rev. and expanded, London, UK: Thames and Hudson |
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1995 |
Art and Design: British Art - Defining the 90s, London, UK: Academy Editions |
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Des Limites du Tableau: les Possibles de la Peinture (exhibition catalogue), texts by Jean-Marc Prévost and Ann Hindry, Rochechouart, France: Musée Départmental du Rochechouart |
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Fiona Rae (exhibition catalogue), text by Richard Shone, London, UK: Waddington Galleries |
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From Here (exhibition catalogue), text by Andrew Wilson, London, UK: Waddington Galleries and Karsten Schubert |
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New Voices (exhibition catalogue), text by Adrian Searle, UK: British Council |
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Repicturing Abstraction (exhibition catalogue), texts by Arthur C. Danto, Richard Waller, H. Ashley Kistler, Chris Gregson and Steven S. High, Richmond, Virginia, USA: Anderson Gallery, Virginia Commonwealth University |
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1994 |
Chance, Choice and Irony (exhibition catalogue), texts by Tony Godfrey et al. London, UK: Todd Gallery and John Hansard Gallery |
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Fiona Rae (exhibition catalogue), text by Emma Dexter, New York, USA: John Good Gallery |
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Kent, Sarah, 'Fiona Rae', Shark Infested Waters: The Saatchi Collection of British Art in the 90s, London, UK: Zwemmer Publishing |
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Unbound: Possibilities in Painting (exhibition catalogue), text by Adrian Searle, London: Hayward Gallery, The South Bank Centre |
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1993 |
A Decade of Collecting: Patrons of New Art Gifts 1983–1993 (exhibition catalogue), London, UK: Tate Gallery |
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Fiona Rae (exhibition brochure), text by Emma Dexter, London, UK: Institute of Contemporary Arts |
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New Voices, Noves Veus, includes artist statement, UK: British Council |
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1992 |
Fiona Rae (exhibition catalogue), text by Thomas Kellein, Basel, Switzerland: Kunsthalle Basel |
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New Voices: New Works for the British Council Collection (exhibition catalogue), London, UK: British Council |
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British Contemporary Art, 1910-1990: Eighty Years of Collecting by The Contemporary Society (exhibition catalogue), texts by Judith Collins et al. London, UK: New Amsterdam Books |
| 1991 | A View of London (exhibition catalogue), text by Michael Archer, Salzburg, Austria: Salzburger Kunstverein |
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British Art from 1930 (exhibition catalogue), London, UK: Waddington Galleries |
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Fiona Rae (exhibition catalogue), text by Stuart Morgan, London, UK: Waddington Galleries |
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John Moores Liverpool Exhibition Seventeen (exhibition catalogue), Liverpool, UK: National Museums and Galleries on Merseyside, Walker Art Gallery |
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La Metafisica della Luce (exhibition catalogue), text by Demetrio Paparoni, translated from the Italian by John Stezka, New York, USA: John Good Gallery |
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Turner Prize Exhibition 1991: An Exhibition of Work by Shortlisted Artists: Ian Davenport, Anish Kapoor, Fiona Rae and Rachel Whiteread (exhibition catalogue), text by Sean Rainbird, London, UK: Tate Gallery Publications |
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Who Framed Modern Art or The Quantitative Life of Roger Rabbit (exhibition catalogue), texts by Tricia Collins and Richard Milazzo, New York, USA: Sidney Janis Gallery |
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1990 |
Aperto (exhibition catalogue), Venice, Italy: La Biennale di Venezia |
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Contemporary London, Cologne, Germany: Nordstern Versicherungen AG |
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Fiona Rae (artist book), Glasgow, UK: Third Eye Centre |
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The British Art Show 1990 (exhibition catalogue), texts by Caroline Collier, Andrew Nairne and David Ward; includes artist statement, London, UK: South Bank Centre |
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Voorwerk 1 (artist box), Rotterdam, the Netherlands: Witte de With, Center for Contemporary Art |
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1989 |
Promises, promises (exhibition catalogue), text by Adrian Searle, London, UK: Serpentine Gallery |
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1988 |
Freeze (exhibition catalogue), text by Ian Jeffrey. London, UK: s.n. |
