This portfolio is a set of ten beautifully produced prints by an international selection of leading artists chosen from Cubitt’s exhibition history. Cubitt’s innovative Curatorial Fellowship gives an emerging curator the opportunity to develop an exhibition program across an 18-month period. For this portfolio, ten former curators of Cubitt Gallery were invited to choose an artist they exhibited to make a new work, resulting in a stunning survey of recent art.

Emily Pethwick selected Carol Bove, an artist who is interested in tracing the social, political, and artistic movements of the 1960s and 1970s, in particular looking at how these were expressed in aesthetic form.

Gareth Jones chose Adam Chodzko, who has worked with the pages of a scenic picture book from Iran in the mid-1970s and envisaged a scenario where a printmaking group has run out of paper and, becoming resourceful, applied their ideas to its pages.

Gregor Muir elected artist Cerith Wyn Evans, who in recent years, has produced artworks such as text-based firework displays, complex sound sculptures, columns of lights with heat generating filaments and Morse code activated chandeliers.

David Bussel has chosen Gustav Metzger. For his Curator’s Choice print edition, the artist has collaborated with photographer Kristian Buus on an image taken from another iteration of this now historical performative action, staged by artist Brian Hodgson in 2006, also at the Southbank, London. 

Matthew Higgs selected artist John Stezaker for the portfolio, whose work, nearly fifteen years later, is now probably better known than at any point in his near-forty year career.

Penelope Curtis chose artist Tina O’Connell for the portfolio, whose 1994 show at Cubitt was the only Curtis’ has ever curated in London.

Tom Morton selected Matthew Day Jackson to create a work for the portfolio. The artist has said that the title of his print is “the date of the Hiroshima bombings and perhaps suggests that the bomb that was dropped in Hiroshima had no end and led to the complete burning of the entire globe… Not just one, but all of the devices that came forth after Gadget, Little Boy, and Fat Man, Joe…etc. became one destructive body… All it would take is one device to begin the ultimate endgame.”

Bart van der Heide selected Berlin based artist Haegue Yang, whose work assumes an engaging position between narration and abstraction. Yang’s pallet of Venetian blinds, floodlights, mirrors and scent machines represent a set of private associations, yet when they are installed the artist remains illusive as “meaning giver.”

Polly Staple selected Cathy Wilkes for the portfolio. Staple says that “Cathy’ s work does not give easy answers; it eschews categorization and is resiliently awkward. Insisting on her own voice and not conforming to external standards Cathy wants the work to be unstable.”

Courtesy of Cubitt