Gillian Wearing CBE, RA, Untitled, 2020. Oil on board, 40.5 x 30.5 cm. Presented to Rugby Art Gallery and Museum by the Contemporary Art Society with support from the V&A Purchase Grant Fund, Rugby Museum & Art Gallery and the Zabludowicz Collection, 2020/21.
Recent Acquisitions 24 Aug 2021 By Jessica Lowe-Mbirimi

The CAS acquires a self portrait by Gillian Wearing for Rugby Art Gallery and Museum, capturing the artist’s state of mind in lockdown

Oil painting is a departure from her usual practice of documentary films and photographs that explore the expression of identity in public and personal spaces.

Christina Mackie: The Judges III at Hospitalfield. Photographer: Ruth Clark, 2021
CAS Recommends 28 Jul 2021 By Marcus Crofton

August 2021

At Hospitalfield near Dundee, Christina Mackie’s The Judges III are going on show for the first time since they were exhibited at Nottingham Castle in 2012.

Rosalind Nashashibi , ‘South of France’, 2018. Oil and nylon tights on canvas, 110 x 90 x 2 cm. Presented to Southampton City Art Gallery by the Contemporary Art Society, 2019/20
Recent Acquisitions By Jessica Lowe-Mbirimi

The CAS acquires a painting by Rosalind Nashashibi that incorporates nylon tights for Southampton City Art Gallery

Since 2014, Nashashibi’s paintings started to engage with place through organic forms rendered in vivid colours and ‘South of France’ continues in this style.

Sarah Jones, Magpie (Camera) (I), 2021. © Sarah Jones, courtesy Maureen Paley, London
Friday Dispatch 23 Jul 2021 By Caroline Douglas

‘Sarah Jones: Hall of Mirrors’ at Maureen Paley

Concise, restrained, technically brilliant, this is a show rich with ideas and allusion. Six years on from her last show at the gallery, Sarah Jones quietly produces another master class in the art form.

Jade Montserrat, 'The Sound of Bells in a Christian Country', 2017-21. Watercoulor, gouache, pencil, oil pastel, masking fluid on paper, 31 x 41 cm. Courtesy the artist and Bosse and Baum
Friday Dispatch 16 Jul 2021 By Caroline Douglas

New Works for the Summer at CAS on Mount Street

Ranging from important new voices to senior figures of the British scene, as before, the factor that unifies them all is our relationship to the artists – all of whom we have bought for museums in the UK at least once in the past.

Larry Achiampong & David Blandy, Finding Fanon Part One, 2015, courtesy of Copperfield Gallery & Seventeen Gallery, London, Image: Claire Barrett.
CAS Recommends 8 Jul 2021 By CAS Team

July 2021

CAS Recommends CAS Recommends On 10 July Kettle’s Yard is opening a group show that brings together work by 10 British African diaspora artists to examine the conditions of our time through…

Andrea Büttner, Plant, 2017. Woodcut on paper. Courtesy of the artist and Hollybush Gardens
Friday Dispatch 2 Jul 2021 By Christine Takengny

Andrea Büttner at the CAS at Mount Street, London

Notions of shame, vulnerability, poverty and embarrassment run throughout her work.

Francis Offman, Untitled, 2019. Acrylic, ink, coffee grounds and Bolognese plaster on cotton. Courtesy the artist and Herald St, London. Photo by Andy Keate.
Friday Dispatch 25 Jun 2021 By CAS Team

Francis Offman at Herald St, London

The works are a pure play of abstract elements, each an ode to humanity

James Rigler, 'Old Money' 2020. Presented to GoMA, Glasgow, by the Contemporary Art Society through the Jackson Tang Ceramics Award, 2020/21
Recent Acquisitions 24 Jun 2021 By CAS Team

Glasgow’s GoMA receives a major installation by ceramicist James Rigler through Jackson Tang Ceramics Award

The title Old Money refers both to the history of the building and the entrenched privilege it represents, as well as a reminder that the meaning of coins is – like architectural styles – socially constructed and can evaporate with changing times.

Thomas J. Price, Mental Structure #19 (Just Beyond This) (3 views), 2015. Purchased with support from Art Fund, Contemporary Art Society and the Heslam Trust, 2020/21
Recent Acquisitions By Jessica Lowe-Mbirimi

The CAS helps acquire three bronze heads by sculptor Thomas J. Price for The Collection Museum and Usher Gallery, Lincoln

Price creates a dialogue with the viewer, encouraging them to analyse their behaviors and reactions to Black phenotypes, particularly in spaces where they are not historically represented.

Sarah Lucas, Tit-Cat Eames Chair, 2015 Bronze, concrete. Courtesy Flat Time House, 2021. Documentation: Plastiques Photography.
Friday Dispatch 18 Jun 2021 By Christine Takengny

ANTS AND GRASSHOPPERS: reflections on the anxious object at Flat Time House, London

This show can also be seen as both a homage to the pioneers of conceptual and concrete art and as a Gesamtkunstwerk, providing a space for open-ended associations and unforeseen thoughts.

Installation view of Walter Price, Pearl Lines, 2021. Image: Rob Harris
Friday Dispatch 11 Jun 2021 By Caroline Douglas

Walter Price: Pearl Lines at Camden Art Centre, London

All the works here are dated 2020, made during the lockdowns of last year, when the artist chose to work only with the materials he had in his studio at the time.

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