Alun Williams

 

 

 

 

 

 

 

Hester Leisler (Statue 1), 2017
oil and acrylic on canvas
161,5 x 129 cm

 

 

 

 

Statue de Marguerita Luti, 2017
oil and acrylic on canvas
41 x 33 cm

 

 

 

 

 

Statue de Jules Verne, 2017
oil and acrylic on canvas
41 x 33 cm

 

 

 

 

 

Les Soeurs Godé, 2017
charcoal and acrylic on paper
70 x 76 cm (avec cadre)

 

 

 

Les Mères de Montréal: Les Arrivantes de 1647, 2017
acrylic on canvas
71 x 56 cm

 

 

 

 

Trois Saintes Vierges assistées par des anges, 2014
180 x 175 cm
oil and acrylic on canvas

 

 

 

 

 

The good, the Bad and the Ugly, 2009
oil and acrylic on canvas
243,5 x 295 cm

 

 

 

 

Jules et Victorine hotel, 2010
oil and acrylic on canvas
56 x 71 cm

 

 

 

 

 

 

 

Jules et Victorine conversation, 2010
oil and acrylic on canvas
71 x 56 cm

 

 

 

 

Six Fornarinas, 2010
oil and acrylic on canvas
130,5 x 161,5 cm

 

 

 

 

 

Thomas Paine on His Estate in New Rochelle (2), 2018
oil on canvas
70 x 110 cm

 

 

 

 

Thomas Paine (Political Philosophy 9), 2018
ink and charcoal on paper
46 x 38 cm

 

 

 

born in 1961 in Manchester, England
lives and works in New York and in Brittany

Alun Williams was born in Manchester (UK) in 1961. He exhibited his work for the first time in 1979 at the University of Manchester and in the same year left to study painting at the School of Art of the University of Wales. In 1981-82 he benefited from an overseas study grant to begin his long relationship with France as a student at the National Art School in Bourges. He finished his studies in Wales, had a solo exhibition at the Galerie Medamothi in Montpellier, then continues studying at Blackheath School of Art in London before beginning his Masters at Goldsmiths’ College (1986-87).

At this time, he exhibited notably at Maureen Paley (Interim Art) in London, as well as at the Museums of Stoke-on-Trent and Peterborough (UK). He undertook a residency and solo exhibition at the Art School of Nîmes (France), as well as at different venues and galleries in London. In 1991, he traveled to the USA and Canada, for a series of lectures and residencies. In 1992, with Isabelle Viallat, he created the Association La Vigie in Nîmes, and in 1993 he joined the Board of Directors of the Triangle Arts Association in New York. In 1995 he was the founder, with Claire Lesteven and Bernard Plasse, of the Triangle France Association, in Marseille at the Friche Belle de Mai. Since 1998, he has been based in New York, and in 2000, he was the founder of Parker’s Box, in the artist-run gallery neighborhood in Brooklyn.

Today, while concentrating his energies on his own painting practice, Alun Williams continues his involvement in the experimental projects under Parker’s Box label, Brooklyn and supports the activities of Triangle in New York and closely follows those of Triangle France in Marseille and La Vigie in Nîmes.

 

Solo exhibitions

2007
*Le Moulin, Espace d’Art, La Valette du Var

2001
Gasworks International Residency Programme, Londres, Angleterre

2000
Galerie du Tableau, Marseille

1997
*Le Moulin, La Valette du Var
Galerie du Tableau, West Chelsea Arts Building, New York, USA

1995
Galerie du Placard, Paris & Nîmes
Galerie du Tableau, Marseille
La Tour du Roy René, Marseille

1993
Galerie Raph Debarrn, Paris & Nice

1992
Artspace, Peterborough, Ontario, Canada

1991
Galerie Pascal Paradis, Nice

1990
Municipal Contemporary Art Gallery, La Tête d’Obsidienne, La Seyne sur Mer

1989
*Ecole de Nîmes, Nîmes

1988
Tom Allen Centre, Stratford, Londres, Angleterre
City Museum et Art Gallery, Stoke-on-Trent, Angleterre

Mario Flecha Gallery, Londres, Angleterre

1984
Galerie MedaMothi, Montpellier
* catalogue

Group exhibitions

salon Drawing now, with galerie anne barrault, Paris

Iconographie, l’oeuvre comme collection d’images, Frac-Artothèque du Limousin, Limoges, France

2015
Smack Mellon, New York, USA

2014
galerie Pierogi, New York, USA

Centre de diffusion et d’expérimentation, Université du Québec à Montréal, Montreal, Canada

Si on a pas vu le bonheur dans l’image,on en verra le noir, Chris Marker, une proposition de Ramuntcho Matta, galerie anne barrault en collaboration avec la galerie Polaris, Paris, France

Où commence le futur ?, commissaires : Gilbert Perlein et Rébecca François, Musée d’Art Moderne et d’Art Contemporain, Nice, France

Transition Gallery, London, UK

Usher Gallery, Lincoln, UK

L’Esprit du Lieu 2, Le Moulin, La Valette du Var, France

La Vie est Un Collage, commissaire : Philippe Ducat, galerie anne barrault, Paris, France
2013
Bonjour Monsieur Matisse, Musée d’Art Moderne et d’Art Contemporain, Nice, France

E-motion, collection Bernard Massini, Fondation Maeght, Saint-Paul-de-Vence, France

2012
Sarah Tritz & Alun Williams, Art-O-Rama, Marseille

What Only Paint Can Do, Triangle Gallery, Brooklyn, New York

2010
What art can do, Art 101, New York

Momenta Art, Momenta Art and White Columns, New York

salon du dessin contemporain, galerie anne barrault, Paris

2008-2009
le chemin de peinture, * Musée d’Art Moderne et d’Art Contemporain, Nice

2007
Lower Manhattan Cultural Council, New York, USA; Smack Mellon, Brooklyn, New York, USA

2006
Galerie Jocelyn Wolff, Paris

Momenta Art, Brooklyn, New York, USA

2003
*Oni Gallery, Boston, Massachusetts, USA

2002
Plus Ultra Gallery, Brooklyn, New York, USA

2001
Le Moulin, Municipal Contemporary Art Gallery, La Valette du Var

1999
Jeffrey Coploff Gallery, New York, USA (avec Jean Bellissen et Jean-Jacques Ceccarelli)

1998
Galerie de La Friche Belle de Mai, Marseille

1997
*Musée d’Art Moderne et d’Art Contemporain, Nice

Artcade, Marseille (avec Gerard Williams)

1996
*Salon de Montrouge, Montrouge

1995
Pavillon de Bercy, galerie municipale d’art contemporain, Paris
CIAM, Université de Toulouse, Mirail, Toulouse

1994
Galerie Raph Debarrn, Nice, France; Galerie Modeparis, Château de Servières, Marseille

1993-94
*« Kultur on Tour » Exposition Itinérante, France et Allemagne

1992
*Musée des Beaux-Arts, Pau; Galerie Pascal Paradis, Nice

Cercle Münster, Luxembourg; Ecole Nationale Supérieure des Beaux-Arts de Paris, France

1991
Vermont Studio Center Gallery, Johnson, Vermont, USA

1989
Galerie Athanor, Marseille

*Peterborough City Museum, Peterborough, Angleterre

1988
*City Museum and Art Gallery, Stoke-on-Trent, Angleterre;

Galerie Carreton, Nîmes

1987
Goldsmiths’ Gallery, Londres, Angleterre;

Mario Flecha Gallery, Londres, Angleterre

1986
OYB Gallery, Londres, Angleterre

1985
Interim Art, Londres, Angleterre (avec Robert Ellis et Eric Bainbridge)

1982
Arts Centre, Aberystwyth, Pays de Galles, Royaume-Uni

1979
Undercroft Gallery, Université de Manchester, Manchester, Angleterre
*catalogue

Bibliography

• 2007 Artpress, Nº 340, décembre, expositions: Alun Williams, pp 90-91, Eric Mangion
• 2007 Journal Sous Officiel, Nº 033, été, Alun Williams, Aux Étoiles Disparues, pp 26-27, Xavier Girard
• 2007 Trace, journal-catalogue de l’exposition: Alun Williams, Aux Étoiles Disparues, Espace d’Art, Le Moulin, La Valette du Var, 32 pages, textes de: Isabelle Bourgeois, Eric Mangion, Bernard Massini, Yves Reynier
• 2006 Artpress, Nº 326, septembre, l’événement, pp 20-21, Richard Leydier
• 2006 Art in America, janvier, Art World, p 150
• 2006 Paris-art.com, mars, expos-critiques, Timesharing, galerie Jocelyn Wolff, Stephanie Katz
• 2004 Coming Up, Octobre, Alun Williams, Inventeur de Structures, pp 92-95, Nadja Groux
• 2004 72 Projets, FRAC PACA, Marseille, France
• 2003 The Partenian Effect, Oni Gallery, Boston, catalogue, Christophe Perez
• 2003 Flash Art, Amanda Church
• 2002 Brooklyn Rail, automne, Valerie Livingston
• 2001 Brooklyn Rail, hiver, Rachel Gordon,
• 2000 Catalogue du Fonds Communal de la Ville de Marseille
• 1997 Catalogue Alun Williams, La Petite Histoire, La Valette du Var F. Bazzoli, I. Bourgeois, B. Plasse, J. Swartz, 40 pages
• 1997 Partisan Review, Boston, mai, At the Galleries, Karen Wilkin
• 1997 La Marseillaise, Williams & Williams, Angelique Schaller
• 1996 Il Giocatore, Marseille
• 1996 Catalogue de la Fondation d’Entreprise Provence-Côte d’Azur Collection
• 1995 Taktik, No 319, Yves Gerbal
• 1993 Sub Rosa, Vol. 3, No. 3, Forgetting the Museum- Absent Faces, Dominic Hardy
• 1993 Catalogue, Kultur on Tour
• 1993 Art Presence, No. 7, p31
• 1993 Catalogue, Le Cailar, ’93
• 1992 Document, Alun Williams, Isabelle Viallat, textes de : Dominic Hardy, Christian Skimao
• 1992 Artension, No. 32, pp 1 & 68, Pierre Souchard
• 1992 Catalogue, Musée des Beaux-Arts de Pau
• 1990 Arthèmes, été, Alun Williams, Marie-Laure Lions
• 1989 Catalogue, Alun Williams, Ecole de Nîmes, Nîmes, texte de Armet Miralles
• 1989 Kanal, No. 42, Christian Skimao
• 1989 Mars, No. 24 pp 24-25, Alun Williams, Interview de Armet Miralles
• 1989 Document, Pacesetters IX, Four Painters, texte de Ameta Wadsley
• 1988 Time Out, No. 924, Sarah Kent
• 1988 City Limits, No. 343, Mark Currah
• 1988 Artscribe International, No. 72, Figura : Rhetoric in Contemporary British Painting,
• 1988 Stuart Morgan & Michael Philipson
• 1988 Document, Alun Williams, Artist in Residence, Stoke-on-Trent City Museum & Art Gallery, textes de Maureen O. Paley et Alun Williams
• 1988 Catalogue, Object et Image, Aspects of British Art in the Eighties, Stoke-on-Trent City
• 1988 Museum & Art Gallery, texte de Ian Vines
• 1988 Video, Alun Williams, Jean-Pascal Vial & l’Ecole de Nîmes
• 1987 City Limits, No. 320, Mark Currah
• 1986 Artline, Vol. 3, No. 4, p33. Arthur Berman
• 1985 Time Out, No. 792, Sarah Kent
• 1985 Arts Review, octobre
• 1984 Mars, No.2 pp. 45-48 : Alun Williams, The Waiting
• 1984 Flash Art, hiver, p.64, Ben Vautier

Grants and residencies

• 2004 Chevalier de l’Ordre des Arts et des Lettres, France
• 2002 AFAA, Ministère des Affaires Etrangères
• 2001 AFAA, Ministère des Affaires Etrangères
• 1996 DRAC Basse Normandie
• 1992 AFAA, Ministère des Affaires Etrangères
• 1992 Canada Council
• 1991 Vermont Studio Center Fellowship
• 1991 Ateliers de Laguépie- DRAC Tarn et Garonne
• 1988 British Council
• 1985 Greater London Arts Council
• 1985 Blackheath School of Art Discretionary Scholarship
• 1983 Welsh Arts Council

REVUE 02 * April 2020
by Patrice Joly