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Richard Caldicott Biography
Born 1962 in Leicester, England.
Lives and works in London
1988–92
Royal College of Art, Research Fellow
1984–87
Royal College of Art, MA
1981–84
Middlesex Polytechnic, BA
1980–81
Loughborough College of Art & Design
Solo Exhibitions
2009
Hamiltons, London
2007
Galerie f5,6 Munich
2006
Blocker, Hamiltons, London
Casa Tua, Miami
2005
Loop, Goss Gallery, Dallas, Texas (catalogue)
2004
Hamiltons, London (catalogue)
Ariel Mayerowitz Gallery, New York
2002
Hamiltons, London (catalogue)
Ariel Meyerowitz Gallery, New York
2000
Finesilver Gallery, San Antonio, Texas
Hamiltons, London
Camera Work, Berlin
1999
Hamiltons, London
Succession, London
1998
Dorothée De Pauw Gallery, Brussels
1997
On the Entity of Objects/Vom Dasein der Gegenstände (with
Christopher Muller), Kunstmuseum Bonn (catalogue)
Group Exhibitions (Selected)
2011
London Art Fair, Wilson Stephens Fine Art
2010
Abstract, Galerie f5,6, Munich (with Antonio Azuaga, John Goto, Edward Mapplethorpe, Silvio Wolf)
London Art Fair, Art Projects, Galerie f5,6 (catalogue) Art + Design Fair London, Hamiltons
Uno de Uno Gallery, Monterrey 2009
The Edge of Vision: The Rise of Abstraction in Photography – The Sixth Pingyao International Phptography Festivel, Pingyao, Shanxi Province, China
B-Sides, Galerie f5,6, Munich
Beyond the Document: Color Field Photography. Peg and Frank Taplin Gallery, The Paul Robeson Center for the Arts, Princeton
Time and Being, Bowe Ashotn Gallery, University of West England, Bristol School of Creatve Arts
The Christopher Hyland Collection of Photography, By Way of These Eyes: The Sublime, Exotic and Familiar, New British Museum of American Art
2008
Paris Photo ’08, Hamiltons
2007
Art Koln, Galerie f5,6
Photo Miami '07, HackleBury Fine Art
Modern fair, Galerie f5,6/Goss Gallery, Munich
Miami – London Preview, HackleBury Fine Art, London
2006
Photo Miami '06, Galerie f5,6
Paris Photo '06, Hamiltons Seeing the Light, Carl Solway Gallery, Cincinnati
ART ANON, in aid of Terrance Higgins Trust, London Art Fair, London
If it didn’t exist you’d have to invent it: a partial Showroom history, The Showroom, London
2005
Paris Photo '05, Hamiltons
2×2, Rachofsky House, Dallas (catalogue)
Concrete Photography, Museum im Kulturspeicher Würzburg (catalogue)
Still Life and Stilled Lives, Ariel Meyerowitz Gallery, New York
2004
Paris Photo '04, Hamiltons
Photo London '04, Hamiltons Cleanliness, Sara Meltzer Gallery, New York Group show, Hamiltons, London The Photography show, AIPAD/Ariel Mayerowitz Gallery, New York
Optic Nerve-Abstract Colour Photography, Photofusion Gallery, London
2003
Optic Nerve-Abstract Colour Photography, curated by Roderick Packe, Wolsey Art Gallery, Ipswich Fresh Art Auction, Santa Monica Museum of Modern Art, Santa Monica, CA Prima Facie, curated by Ellen Carey, Nina Freudenheim Fine Art, Buffalo, New York Paris Photo '03, Hamiltons Lichtzeichnungen, Galerie f5,6, Munich
2002
Abstract Photography, Hunterdon Museum of Art, New Jersey, New York
Supercellular! Galerie Valerie Cueto, Paris The Armoury Photography Fair, Ariel Meyerowitz Gallery, New York Paris Photo '02, Hamiltons
2001
Paris Photo ’01, Hamiltons
Fresh, Jane Jackson Fine Art, Atlanta, Georgia
Art Brussels 2001, Hamiltons /Dorothée De Pauw Gallery
Art Chicago 2001, Finesilver Gallery
2000
Art Basel 31. Hamiltons
Art Brussels 2000, Hamiltons /Dorothée De Pauw Gallery
ART2000, 12th London Contemporary Art Fair. Houldsworth Fine Art
The Photography Show, AIPAD/Hamiltons, New York
1999
Still, Houldsworth Fine Art, London
Vintage Show, Hamiltons, London
Art Brussels ’99. Dorothée De Pauw Gallery/Hamiltons (catalogue)
Art Basel 30. Hamiltons (catalogue)
Silent Presence: Contemporary Still-Life Photography, Staatliche KunsthalleBaden-Baden
Travelling to Kunstverein Bielefeld, March-April 2000 (catalogue)
FIAC, Paris. Hamiltons/Dorothée De Pauw Gallery (catalogue)
Paris Photo ’99, Hamiltons
The Photography Show, AIPAD/Hamiltons, New York
1998
Art Brussels ’98, Hamiltons, (catalogue)
Out of Frame, curated by Paul Hedge, Hamiltons, London
Under/Exposed, XpoSeptember Stockholm Fotofestival, (catalogue)
The Discerning Eye, Mall Galleries, London
Paris Photo ’98. Hamiltons (catalogue)
1997
Ordinaire/Ordinary, Miller et Bertaux, Paris
Art Frankfurt, Almut Gerber Gallery, Köln
1996
A Glass of Water, Chelsea Arts Center, New York
The Art Exchange, Kagan Martos Gallery, 60 Broad St, New York
1995
Caldicott, Clegg & Guttmann, Gussin, McDonough, Muller, Smith, Räume
für neue Kunst- Rolf Hengesbach, Wuppertal
Art Basel 26. Räume für neue Kunst- Rolf Hengesbach
Art Köln. Räume für neue Kunst- Rolf Hengesbach
1994
Gol!, Mark Boote Gallery, New York
Close Encounters, Ikon Gallery, Birmingham
Foto 1, curated by Christian Anstice, 152c Brick Lane, London
1993
Xenografia Nomadic Wall, (Video Installation Project) curated by
Umberto Scrocca, 45th Venice Biennale
1992
Seventeen, British and American Artists, Greenwich St, New York(catalogue)
Love at First Sight, curated by Graham Gussin, The Showroom, London
In and Out, Back and Forth, 578 Broadway, New York (catalogue)
How Noisy Everything Grows, curated by Marigold, Royal College of Art, London (catalogue)
7th Australian International Video Festival (catalogue)
15th Tokyo Video Festival
1991
Five British Artists / Fünf Britische Künstler, curated by Christa Gather,Thomas Backhaus Galerie, Düsseldorf (catalogue)
1990
From a Position of Safety, Citicorp, London
Harvest Beige, Citicorp, London
Original Copies, Royal College of Art, London.Travelled:
National Museum of Modern Art, Kyoto. Axis Gallery, Tokyo,Century Plaza,
Nagoya (catalogue)
1988
Project Title, Chrome Factory, London
1985
Whitworth Young Contemporaries, Whitworth Art Gallery, Manchester
1984 Stowells Trophy, The Royal Academy, London (catalogue)
New Contemporaries, ICA, London (catalogue)
1983 Stowells Trophy, The Royal Academy, London (catalogue)
Awards
1991
Grants to Artists, British Council
1985 RCA - Venice Studio Award 1986
Cité International des Arts, RCA - Paris Studio Award
Collections
Art Lab, Tokyo
BP Amoco, London
Christopher Hyland Collection, New York
Dorothée De Pauw, Brussels
Electronic Media Arts, Glebe, Australia
Gert Elfering, Miami
Goldman Sachs International, London
Karl Blossfeldt /Albert Renger-Patzch,
Archiv Ann und Jürgen Wilde, Köln
Goss - Michael Foundation, Dallas
Kunstmuseum Bonn
Leon Constantiner, New York
Merrill Lynch International Bank, London
Miller et Bertaux, Paris
Museo of Electrographie, Cuenca, Spain
Museum im Kulturspeicher, Würzburg
Peter Svennilson, Stockholm
The Peter C. Ruppert Collection
Richard James, London
Simon and Yasmin Le Bon, London
Sir Elton John, London
Mr and Mrs Vernon Faulconer, Dallas TX
Tara Bernerd, London
Commission
BP Amoco, London
Bibliography
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Behrman, Pryle. 'Galerie f5,6' Art Projects, London Art Fair Guide Jan. 2010, p.24 Bischoff, Dan. ‘Painting with a camera, Hunterdon Museum of Art in Clinton’, The Star-Ledger, Sunday, December 1, 2002, p.6 Bishop, Louise. ‘Plastic Fantastic’, Creative Review, May 1999, p.48-49
Boecker, Susanne. ‘Kuhne Verwirrspiele mit einfachen Dingen’, Kolner Stadt-Anzeiger, 18.2.97 Bosetti, Annette. ‘Die Stilleben von heute’, Aachener Nachrichten, 20.1.97
Braxmaier, Rainer. ‘Eine Kleine Auswahl aus verschiedensten Sparten’, Badisches Tagblatt, 14.9.99 Bull, Stephen. ‘Optic Nerve’, Source 38, Spring 2004, p.35 Brehm, Margit. ‘Stop Making Sense’, Exh.Cat. Staatliche Kunsthalle Baden-Baden, 1999 Brown, Neil. ‘Still, Houldsworth Fine Art, London’. Independent on Sunday, 30.1.2000 Dannatt, Adrian. ‘But if you try sometime you might just find’, Exh.Cat. In and Out, Back and Forth, 578 Broadway NYC, 1992 Dannatt, Adrian. ’Seventeen’, Exh. Cat. Seventeen, 500 Greenwich Street, New York 1992 Dannatt, Adrian. ‘Soccer sideline’, The Daily Telegraph, 2.2.94 Dannatt, Adrian. ‘Richard Caldicott-On a Series of Solid Physical Articles in the Shape of Ten Ordinary White Pages Marked by Black Print Text’, Exh. Cat. Kunstmuseum Bonn, 1997 Denk, Andreas. Vom geheimnisvollen Leben der Yuccapalme, General-Anzeiger, 22.1.97 Dent, Nick. ‘Kitchen Sink’, Not Only black+white, No.39 Oct.1999 ,p.14
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Hess, Hans-Eberhard. 'Richard Caldicott: Die Kunst des Minimalen', Photo International Mai/Juni 3/2007 p.36 - 43 Horton, Derek. ‘Seeing through modernism: transparency, absence, construction’, Richard Caldicott Exh. Cat. Hamiltons, London, 2004 Horton, Derek. ‘Beyond Recognition’, Optic Nerve Exh. Cat. Wolsey Art Gallery, Christchurch Mansion, Ipswich, 2003 Horton, Derek. 'The Things They Are', Art of England, Issue 55 March 2009 p.58 - 61 Horton, Derek. 'Maximum difference: Repetition and transformation, precision and intuition, in the work of Richard Caldicott', Script' Exh. Cat. Galerie f5,6 Munich, 2007 Kemmerer, Michael. ‘Lautlose Gegenwart, Fotografische Stillleben in dr Baden-Badener Kunsthalle’, Rheim-Maim Echo,15.10.1999 Kilb, Andreas. ‘Hausgotter sehen dich an’, Frankfurter Allgemeine Zeitung, 20.9.2000, Nr. 219 Konches, Barbara. ‘Fokussierte Stillleben, Die “Lautlose Gegenwart”’, BNN, 13.9.1999 Kopp, Siegbert. ‘Eine Schule des Sehens “Lautlose Gegenwart”:Fotografierte Stillleben in Baden- Baden’, Sudkurier, 3.11.1999 Jäger, Gottfried; Krauss, Rolf H.; Reese, Beate. ‘Concrete Photography/Konkrete Fotografie’, Kerber Verlag, Bielefeld 2005 Johnson, A. ‘Richard Caldicott’, The New York Times, Friday, February 1, 2002 p.25 Lillington, David. ‘Foto 1’, Time Out, No.1226 Feb 1994, p.39 Lebeck, Josef. ‘Kunsthalle Baden-Baden: Lautlose Gegenwart’, Klappe, 10.99 Lee, Vinny. ‘A Woman’s Place’, R+R Interiors, 2002, p.51 McKay, Ian. ‘Original Copies’, Art Monthly, Dec. 1991, p.24 MacDonald, Jo. ‘Artists really have a Nerve’, Evening Star, Ipswich, 5.4.03, p.13 Maku. ‘Nicole Stanners Galerie F 5; 6 Zeight “Lichtzeichnungen” Von Fotografen’, go NR, 04/2003, p.82 Miyake, Yuki. ‘From London’, Designers Workshop, 1X, No.58, Dec 1992, p.111 M. K. ‘Mehr Licht!’ Photographie, April 2003, p.86 Moore, Sue. ‘How much for an original copy?’ Guardian, Saturday, October 20, 1990, p.5 Muller, Franz. ‘Ein altes Thema in neuem Licht’,
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Staatliche Kunsthalle Baden-Baden, 1999 Nab, Beate. ‘Die Schonheit der banalen Dinge’, Westfalischer Anziger Hamm, 28.3.2000 Pearce, Sara. ‘Photographs, big and small – Carl Solway Gallery’, Enquirer, Cincinnati, Friday, January 27, 2006, p.8 Pesch, Martin. ‘Um die Ecke Wartet die Op-art und grist’, Taz, 19.2.97
Pfab, Rupert. ‘Iritierende Wechselspiele: Zur Ausstellung “Vom Dasein Der Gegenstande”’, Eikon, 21/22, p.85, 1997 Pfab, Rupert. ‘Busy harvest’.Exh.cat. Christopher Muller-Seeing Things, verlag fur moderne kunst Nurnberg, 2002, p.62 Pinsent, Richard. ‘The sensory eloquence of still-life photography’, The Art Newspaper, No.92, May 1999, p.66 Pitman, Joanna. ‘Cameras, Who Needs Them?’ The Times, 30 December, 2003, p.13 Pramann, Willi. ‘Kunstverein: Stillleban in der zeitgenossischen Fotografie Tod behauptet seine Gegenwart’, Westfalen-Dlatt, 4./5. 3 2000 Rexer, Lyle. ‘The Occasion of an Unfolding’, art on paper, March/April 2005, vol.9. No.4, p.64-67 Rexer, Lyle. 'The Edge of Vision: The Rise of Abstraction in Photography' Aperture 2009 Romano, Gianni. ‘Richard Caldicott’, Zoom, May/June 1993, p.46-49
Rothman, Sabine. ‘Fantastic Plastic’, House & Garden(USA), October 2000, p.108 RRi. ‘Mittlere Blende’, Suddeutsche Zeitung Nr. 48, 4/2003, p.13 Schreier, Christoph. ‘Photographic Colourism-Richard Caldicott’s New Work’, Exh. Cat. Hamiltons, 2002 Schwendener, Martha. ‘Richard Caldicott Ariel Meyerowitz Gallery’, Artforum, March 2002, p.141-142 Seaward, Ellie. ‘The Perfect Portfolio’, Image, No:303, Association of Photographers, Dec 2000, p.4,5 Sexton, Elaine. ‘Still Life and Stilled Lives’, Ariel Meyerowitz, ARTnews, October 2005, p.170 Sheridan, Greg. ‘Original Copies’, Graphics World, Nov/Dec 1990, Number 88, p.17-20 Shuckburgh, Hannah. ‘April Calendar’, Art Review–The Gallery Guide, April 2002, p.4 Strecker, Manfred. ‘Lautlose Gegenwart Bielefelds Kunstverein zeigt Stllleben zeitgenossischer Fotografie’, Neue Westfalische, NR.54. Samstag.4.Marz.2000 T, l. ‘Perfekte Asthetisierung:Promis und Tupperware schoner fotografiert als sie sind’, Mailaichn Oderzeitung, 26.9.2000 Zivancevic, Nina. ‘Letter from Paris’, NY Arts, August 2002, p.68 |
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