Born 1963 in Coleford, Gloucestershire UK. Lives and works in London.
Andrew Bick is an artist and curator working on a critical analysis of the complex and ambivalent nature of our relationship to Modernism. His practice and curatorial work reconfigures principles of concrete art in relation to the social impact and sustainability of contemporary art practice. He is represented in significant public and private collections worldwide, notably Haus Konstruktiv, Zurich, The British Museum, Yale Center for British Art, GoMA, Glasgow, Goldman Sachs, Roche Art Collection, UBS, Stalke Collection, Denmark and Pizzuti Collection, USA. He supervises PhD’s at Kingston University and University of Gloucestershire and at the latter is Reader in Fine Art.
Currently Bick is preparing a solo exhibition for Museum Haus Konstruktiv, Zurich, opening February 2017. Recently his painting was included in NOW-ISM: Abstraction Today at the Pizzuti Collection, Columbus, Ohio. Major public space exhibitions include Slow Magic at Bluecoat, Liverpool in 2009. Since 2008 he has been developing projects based on research in to British Construction and Systems Art from the 1950’s to 1970’s initiated as a result of a Henry Moore Institute Fellowship in 2007/08. In 2014 he co-curated Conversations with Marlow Moss, for &Model Gallery, Leeds, in association with the Marlow Moss exhibition at Leeds Art Gallery. Bick presented a paper for the TATE Modern conference Abstract Connections [March 2010], titled Construction and its Shadow, Double agents and split identities in the world of Abstraction, focusing in particular on the work of Anthony Hill and his Dadaist alter-ego Achill Redo. He has given papers for seminars at TATE, Leeds Art Gallery and Henry Moore Institute and public gallery talks on artists such as Raoul de Keyser [Whitechapel], Kenneth and Mary Martin, Laura Owens [Camden Arts Centre], Robert Mangold [Parasol Unit] and Norman Dilworth [Huddersfield Art Gallery]. Bick has also made commissions in collaboration with architects such as Lifshutz Davidson Sandilands and John McAslan + Partners and is currently working on a project for central London with MAKE Architects. Bick is represented by Hales Gallery, London and Galerie von Bartha, Basel and he has written for Art Monthly, Art and Christianity Enquiry, The Brooklyn Rail, Kultureflash and Abstract Critical. He is currently Chair of the board of Tannery Arts London and on the advisory board of Drawing Room, London.