Viewing articles tagged with 'Drawing'

The Midland Hotel, Marine Road West, Morecambe LA4 4BU

Jenny Steele: This Building for Hope

Not so Nautical A Divide, print on vinyl banner, 2017 artwork and beach

It's rare to find an exhibition which leaves viewers feeling uplifted, sentimental and optimistic. More often than not, artists hotfoot it past nostalgia and the seemingly passé. Manchester-based practitioner Jenny Steele reinvigorates our acquaintance with the past: in this case, with the ‘Seaside Moderne’ and its transatlantic journey between Miami and Morecambe. Review by Selina Oakes

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David Roberts Art Foundation, Symes Mews, London NW1 7JE

(X) A Fantasy

Installation view of (X) A Fantasy at DRAF, 2017

‘(X) A Fantasy’ is David Roberts Art Foundation’s 10th year anniversary exhibition, its final in the current Camden space. The show brings together twenty-five paintings, photographs, friezes, sculptures, installations and videos by close to twenty artists. Series are rife, their repetitions and alterations mirroring the mechanisms of fantasies. Review by Edmée Lepercq

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Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London, SE1 0LN

Jerwood Drawing Prize

Installation View – Barbara Walker, Exotic Detail in the Margin, 2017. Jerwood Drawing Prize 2017, supported by Jerwood Charitable Foundation.

This wide scope has been a cornerstone of the project since it was founded in 1994. The longest running and largest annual open exhibition for drawing in the UK, it has developed a reputation for celebrating the considerable diversity that exists within contemporary drawing practice. As the 2017 iteration shows, it is also a platform that highlights the value of drawing in both an artistic practice and within communities. Review by Kaitlyn Kane

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Victoria Miro Mayfair, 14 St George Street, London W1S 1FE

Kara Walker: Go to Hell or Atlanta, Whichever Comes First

 Go to Hell or Atlanta, Whichever Comes First, Installation view

The facelessness interrupts personal empathy, forcing the viewer to observe from a distance. There is no possibility for intervention, we are powerless and we have failed. Benjamin Murphy responds to Kara Walker's current exhibition at Victoria Miro Mayfair.

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James Fuentes, 55 Delancey Street, New York, NY 10002

Jessica Dickinson: ARE: FOR + remainders

Jessica Dickinson: ARE: FOR + remainders installation view 2017

Jessica Dickinson’s work in her current exhibition, ARE: FOR + remainders, currently on view at James Fuentes, New York, focuses on the sensations of time, light, and matter within shifting philosophical, perceptual and psychological states. Working with oil paint and various tools on a plaster-like ground, various additive and subtractive actions of countering speeds and pressures are layered, from repetitive marking to aggressive chiseling. These procedures draw their direction from a specific period and poetic sequence of events, where abrupt change is intertwined within daily time.

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New Museum, 235 Bowery, New York, NY 10002, USA

Kaari Upson: Good thing you are not alone

Kaari Upson: Good Thing You Are Not Alone, 2017. New Museum, New York.

‘Good thing you are not alone’, the Los Angeles-based artist Kaari Upson’s first solo museum exhibition in New York City’s New Museum, immediately follows her also having participated and contributed to the Whitney Museum of American Art’s 2017 Biennial, which took place not too far uptown in Manhattan. Timing aside, the exhibition is also notable for its size, promising to be of particular interest in providing a glimpse into what Upson’s been up to in the last number of years, especially since having possibly moved on from the monumental ‘Larry Project’, an omnipresence in her practice since the early 2000s. Review by Arthur Ivan Bravo

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De La Warr Pavilion, Marina, Bexhill-on-Sea TN40 1DP

Simon Patterson: Safari: an exhibition as expedition

Simon Patterson, rehearsal of Seascape, 2017, with Bexhill Sailing Club

Simon Patterson’s ‘An Exhibition As Expedition’ takes you on a discursive and peripatetic journey, one which is immaterially played out in the mind of the visitor as they traverse the De Le Warr Pavilion. While doing this the artist sets out to undermine traditional bodies of 'stable' knowledge such as maps, museums and archives. Suggesting that meanings, not just in the world of art, are always in a state of shape shifting flux and that truth is just another strange sub-genre of fiction. Review by Matthew Turner

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White Cube Bermondsey, 144 – 152 Bermondsey Street, London SE1 3TQ

Jürgen Partenheimer: Lichtschwarm

Jürgen Partenheimer, Lichtschwarm, White Cube Bermondsey, 28 April - 18 June 2017

Jürgen Partenheimer's works hover in a peculiar location. Somewhere specifically approximate. In his first London exhibition, ‘Lichtschwarm’ (Light Swarm), Partenheimer presents his continuing and illusive conversation between art of itself and of its circumstances. Jillian Knipe reviews

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Cubitt Gallery, 8 Angel Mews, Islington, London N1 9HH

Houses are really bodies: escape, defiance and friendship in the writing of Leonora Carrington

Houses are really bodies: the writing of Leonora Carrington, installation view, Cubitt Gallery, London, 2017.

In the contemporary, the idea of ‘sanctuary’ is an interesting one. Helen Nisbet’s use of the word when describing ‘Houses are really bodies’, her debut installation as Cubitt’s latest Curatorial Fellow, strikes chords that place the show both within a dense history and at the forefront of the present. Review by Jack Smurthwaite

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Kunstraum, 21 Roscoe Street, London EC1Y 8PT

Sophie Jung: Producing My Credentials

Sophie Jung, Producing My Credentials, Kunstraum, London, 2017.

‘Producing My Credentials’ is a series of performances and an exhibition that invites the audience to enter an audacious and curious version of Sophie Jung’s memory theatre. Review by Christian Lübbert

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The Sunday Painter, 1st Floor, 12-16 Blenheim Grove, London SE15 4QL

Assorted Paper

Installation view, Assorted Paper, The Sunday Painter

The gallery plays host to a number of works, all wrestling with different aspects of the material, and manages to arrange them in a way that provokes dialogue between the works without it being overwhelming. There is a mixture of surprising and expected responses to working with paper. Review by Jesc Bunyard

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