Viewing articles tagged with 'Drawing'
Cell Project Space, 258 Cambridge Heath Rd, London E2 9DA
Through the use of verbal and visual puns, the works displayed in ‘No, No, No, No’ convey irony and humour, and challenge the audience by playing with ideas of authorship, making and presenting art, and even appropriating existing artworks. Review by Fiorella Lanni
Lisson Gallery, 138 10th Avenue, New York
In the first exhibition at Lisson Gallery, New York, by Californian artist Channa Horwitz, her seminal Sonkinotography series of permutational drawings, created from1968 until her death in 2013, are presented. The exhibition shows an artist who in 1969 had her early compositions dismissed by a critic of the Los Angeles Times as 'Pretty Notations by Valley Housewife' finally receiving the recognition that she deserves. Review by Grace Storey
Hestercombe Gallery, Cheddon Fitzpaine, Taunton, Somerset TA2 8LG
Beginning high up in the Orkney Isles and journeying to the South West of England, ‘Odyssean: Topographies’ is a cognitive, visual and, at times, physical expedition into hidden and imagined spaces. The culmination of four artists' Orkney-based residencies, the exhibition throws into question the ways in which humans formulate perceptions of nature and place in an era rife with technology. Review by Selina Oakes
Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS
The first UK-exhibition dedicated to the work of the Birmingham-born convict artist, Thomas Bock (c.1793 – 1855), at Ikon Gallery in Birmingham, is paired with the concurrent exhibition, Edmund Clark: In Place of Hate. This was the the result of a three-year residency spent by the artist at HMP Grendon – Europe’s only entirely therapeutic prison. Despite widely differing careers they both viscerally remind us of the dangers of denying any person a sense of identity. Review by Sara Jaspan
Cass Sculpture Foundation, New Barn Hill, Goodwood, West Sussex PO18 0QP
‘The Sleeping Procession’, a bright and upbeat group exhibition curated by emerging artists Gabriel Hartley and Sean Steadman occupies the gallery with ease. It is a jovial gathering, inspired by the Foundation’s archive of maquettes which the pair have put in dialogue with works by their peers and a number of artists whose work they have found influential. Review by Rebecca Partridge
National Galleries of Scotland, 73 Belford Road, Edinburgh, EH4 3DS
NOW is the second in a six-part series of exhibitions presented by the Scottish National Gallery of Modern Art exploring the work of international contemporary artists. It is dominated by a 5 room display of works by the artist Susan Philipsz alongside works by renowned artists Kate Davis, Sarah Rose, Hiwa K, Michael Armitage and Yto Barrada. Review by Rosie Priest
Galerie Thaddaeus Ropac, Ely House, 37 Dover Street, London W1S 4NJ
Through complex and elaborate works, Lee Bul portrays failed models that echo the qualities of utopian systems of early twentieth century architecture as well as the politics of totalitarian regimes. The works displayed in ‘After Bruno Taut’ at Galerie Thaddaeus Ropac strongly emphasise the excess and fragility of our world, and our failure to control it. Review by Fiorella Lanni
The Sunday Painter, 117-119 South Lambeth Road, London SW8 1XA
In the first instance Beatriz Olabarrieta's artwork is crooked. Like an oversized yoga mat, 'Open relationship (almost failing red)' (2017) is placed askew of the demarcation grooves set by the floorboards. Only just slightly, which gives it a sense of the accidental. The temptation is to correct its placement, though of course the work remains untouched and introduces an exhibition teasingly just short of the definable and the ideal. Review by Jillian Knipe
Turner Contemporary, Rendezvous, Margate CT9 1HG
In the first exhibition of Arp’s work in the UK since his death in 1966, Turner Contemporary exhibits a selective retrospective of the multi-linguist’s works and ideas spanning from early Dadaist pieces such as the poem ‘Kaspar ist tot’ to the sculpture, ‘Étoile’, a hollow melting star that marks his grave in Locarno. Review by Evie Ward
Artist Interview: Lubaina Himid
Ahead of tonight's Turner Prize winner announcement, which she is odds on to win, Cleo Roberts, art historian and research associate at Wolfson College, University of Cambridge, interviewed Lubaina Himid to find out more about her practice, research process and the intricacies of her visual language.
Museum of Contemporary Art San Diego, 1100 Kettner Blvd, San Diego, CA 92101, USA
Memories of Underdevelopment is set within the context of Latin America during the 1960s to 1980s, a period that coincides with both the apex and unraveling of the developmentalist project in many countries in the region, most notably Brazil, Argentina, Venezuela, and Mexico. In contrast to dominant ideologies that guided the modernization process in these countries, Memories of Underdevelopment traces the emergence of a distinct set of artistic practices that questioned the developmentalist rhetoric and proposed alternative forms of cultural production that responded to this situation of cultural and economic dependency.