Rough was born in Glasgow in 1972 and holds a BA and an MFA from the Glasgow School of Art. He attended the Hochschule der Kunst, Berlin, in 1996 and later moved to New York City, where he currently lives and works.
Rough’s approach is multifaceted. He has employed a variety of media, including drawing, painting, video, neon, even old T-shirts, but text (in one form or another) is most often his focus. His works have been poetically characterized as addressing “in-between” spaces—and, in fact, Rough operates in an in-between dual identity in his recent Rabo Karabekian series, in which he (re)creates the destroyed works of a once-famous fictional Abstract Expressionist painter, created by Kurt Vonnegut. This conceptual underpinning of these large-scale abstract paintings creates an enormously resonant subtext addressing a host of questions that go to the heart of the nature of the authorship, identity, and creativity itself.
Rough’s recent solo exhibitions include: Monday, Tuesday, Wednesday, etc. . . .,Sorcha Dallas, Glasgow, 2011; I Want to Tell You, Number 35, New York, 2009; Nothing Is Enough, Yvon Lambert, Paris, 2008; The Crisis of Confidence, Sleeper, Edinburgh, 2007; Take Me With You, Sorcha Dallas, Glasgow, 2006; Who Is Everything, P.S. 1, New York, 2004; and Skies of Blue, University of Brighton, Brighton, 2004.
ArtlystArt Basel’s fifth edition in Hong Kong has closed with encouraging sales recorded across all levels of the market. This demonstrates a continued demand for high-quality works by the world’s leading international collectors and institutions. Attendance at this year’s show, whose Lead Partner is UBS, rose to nearly 80,000 – due to the introduction of evening ticket sales and improved crowd control measures – and attracted leading members of the international art world. Many observers felt that this edition had built on the show’s strong history to attain new levels – Art Basel in Hong Kong now not only stands as the premier fair in Asia but also as one of the leading fairs worldwide. Read More
ARTSY EDITORIAL by Alexxa GotthardtFergus McCaffrey’s elegant booth mingles the practices of two American artists who came of age in the 1960s and happen to be great friends. The works of Marcia Hafif and Richard Nonas, however, differ greatly—and that’s precisely what makes this presentation so compelling. Hafif’s hyper-saturated canvases featuring curvaceous forms that resemble bodily contours (she calls these her “Pop-Minimal” paintings) draw you in. Nonas’s more subtle patinaed steel sculptures cover the floor. They resemble architectural forms or ritualized objects; given Nonas’s early years as an anthropologist, they just might be inspired by them, too. Read More