8 Mar—13 Apr 1996
Duke Street

Sarah Morris is interested in ‘finding the most direct way of having a conversation with the viewer.’ Although her work employs a highly-charged, reductive aesthetic that triggers multiple associations, it also suggests narratives steeped in celluloid Americana and fast, urban...

26 Jan—24 Feb 1996
Duke Street

The American artist Clay Ketter originally supplemented his income working in the construction industry, an experience that was to have a major influence on his artwork. Ketter appropriates and customises modular, prefabricated kitchen units—the kind we are used to assembling ...

1 Dec—20 Jan 1996
Duke Street

Sam Taylor-Wood showed Travesty of a Mockery (1995), a 10 minute film that depicts a man and a woman having an argument. This domestic drama is enacted simultaneously on two separate projected screens—the man’s space is described by a chair standing against a blank wall, the...

20 Oct—25 Nov 1995
Duke Street

The work of Belgian artist Patrick van Caeckenbergh presents images of a fantastical world. Van Caeckenbergh adopts the persona of an eccentric, obsessive anthropologist, making sculptures and collages that offer a distinctly individual view of the world, and reveal the artist...

15 Sep—14 Oct 1995
Duke Street

To make her work, Colombian-born artist Doris Salcedo salvages mundane, domestic items—such as pieces of clothing and furniture—and combines them with organic materials to form dysfunctional objects that retain poignant traces of their former use. At White Cube, Salcedo presen...

7 Jul—9 Sep 1995
Duke Street

Marc Quinn exhibited Blind Leading the Blind (1995), a life-size three-quarter cast of his own body. This sculpture is one of a series of pieces based on the seven deadly sins, entitled ‘Emotional Detox’, in which contorted torsos represent heightened states of both physical a...

19 May—1 Jul 1995
Duke Street

In Damien Hirst’s Still (1995), a clinical vitrine made from glass, mirror and steel displayed a series of surgical instruments. The glinting scalpels, forceps, retractors and clamps, arranged on a series of shelves, with surgical, non-hierarchical precision, reflect the aesth...

7 Apr—13 May 1995
Duke Street

Gary Hume is best known for his paintings that use gloss paint on aluminium panels to present a visual vocabulary distinguished by a bright palette, singular and graphic imagery, and flat areas of colour. In the four paintings exhibited at White Cube, symmetry and mirrored for...

3 Mar—1 Apr 1995
Duke Street

Gregory Crewdson exhibited ten photographs that explore the pathology of American suburbia. His large-scale colour prints include clapboard houses, fences, flowers, and animals. These domestic spaces seem familiar, yet, much like the families that inhabit them, Crewdson’s imag...

13 Jan—25 Feb 1995
Duke Street

Densely black and light-absorbing, Mona Hatoum’s sculpture Socle du Monde (1992–93), physically dominated the gallery space. Paying explicit homage to the work of Piero Manzoni, it also related to the aesthetic of Eva Hesse and her subversion of the cold industrial forms of ...

9 Dec—7 Jan 1995
Duke Street

For her first exhibition in the UK, the New York artist Karen Kilimnik created an unnerving theatrical installation that invited the viewer into a world of self-imposed adolescent isolation, obsession and anxiety. Kilimnik makes work in the guise of an alienated teenager, ...

28 Oct—3 Dec 1994
Duke Street

For her first exhibition in the UK, the New York artist Karen Kilimnik created an unnerving theatrical installation that invited the viewer into a world of self-imposed adolescent isolation, obsession and anxiety. Kilimnik makes work in the guise of an alienated teenager, ...