In 1992, in the second of his Young British Artists shows, Charles Saatchi devoted a whole gallery of his vast
Boundary Road space to Wallinger's series of 1:1 scale portraits of thoroughbred racehorses, a work that alluded to breeding and genealogy as well as the wealth that flows through and from the business of racing.
I suspect that the Neo-Geo experience — which was available on tap at Saatchi's vast
Boundary Road space in the late 1980s — was the single decisive influence on a generation of British artists who surfaced around 1990, including Michael Stubbs.
Not exact matches
The
space — and the ambition — was influenced by Charles Saatchi's big gallery in
Boundary Road in north London, which opened in the mid-1980s, and initially showed work by pioneering American conceptual artists like Sol LeWitt and Donald Judd, both of whom influenced Hirst.
Charles Saatchi's new gallery in Chelsea, at the old Duke of York's barracks, is a fantastic
space, room after glorious, beautifully lit room, generous in size, fit for really major shows — if a little bland, certainly compared with the old
Boundary Road premises.