Viewing articles tagged with 'Painting'

Museum Frieder Burda | Salon Berlin, Auguststraße 11-13 10117 Berlin

Candice Breitz: Sex Work

TLDR (Featured here: Connie, Nosipho Vidima)

The film feels more like a piece of entertainment than it should, and it left less of an impact on me than the interviews themselves. One, in which a woman describes a horrifying act of rape by a police officer, will linger with me for a long time. Review by Siobhan Leddy

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

Survey

Installation View of Survey at Jerwood Space, London, 3 October - 16 December 2018.

An assembly of work from fifteen early career artists who have been nominated from across the UK, ‘Survey’ is an exhibition comprising a wide range of disciplines. From film, performance and drawing, to painting, ceramics and installation, it gives rising voices within the sector the opportunity to stand out and stand up. Review by Alexandra Gamrot

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Galleria Lorcan O'Neill Roma, Vicolo Dei Catinari, 3, 00186 Roma RM, Italy

Eddie Peake: People

Eddie Peake: People, 2018 installation view

As an artist whose brightly hued spray-painted canvases initially come across as playfully light-hearted, Peake also allows a psychological duress to permeate the paintings exhibited. Review by Ariane Belisle

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RIBA, 66 Portland Place, London, W1B 1AD

Disappear Here: On perspective and other kinds of space

Disappear Here: On perspective and other kinds of space RIBA exhibition designed by Sam Jacob studio

“Disappear Here is not a history of perspective”, immediately declares the introductory wall text. Instead, RIBA’s exhibition offers a selection of curiously, sometimes bewilderingly, diverse, subversive readings of the system of spatial representation. Review by Henry Broome

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National Portrait Gallery, St. Martin's Pl, London WC2H 0HE

Michael Jackson: On the Wall

Equestrian Portrait of King Philip II (Michael Jackson)

The religious aspects of the exhibition are divided. Some works stand as testament to Jackson’s enigmatic international appeal. One room contains footage from the 1992 Dangerous world tour, revealing delirious crowds, a mass euphoria even outstripping Beatlemania: while the Fab Four played to 55,000 people at Shea Stadium in 1965, Jackson’s concert in Bucharest is estimated to have been attended by nearly 100,000. And the numbers don’t stop there: more than 1,000,000 fans are said to have congregated outside Jackson’s memorial service at the Staples Centre in Los Angeles, while the televised spectacle itself is said to have been watched by more than 1,000,000,000 people worldwide. “We’re more popular than Jesus,” said Lennon of the Beatles in 1966. One wonders where this places Jackson. Review by Rowland Bagnall

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CGP London, The Gallery by the Pool, 1 Park Approach, Southwark Park, London SE16 2UA

The Everyday Political

The Everyday Political installation view 2018

As the exhibition attempts to showcase an emerging contemporary art scene in the North East, Lenihan and Meikle while critiquing the banal geographical rubric used by the current Great North Exhibition – this exhibition is not part of the official programme – the pair insightfully identify ‘restorative nostalgia’ and the appeal of the ‘off-modern’ as two subjects that fixate the cultural landscape of the region. Review by Piers Masterson

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Lisson Gallery, 67 Lisson Street, London, NW1 5DA

Mary Corse

Mary Corse, installation view, Lisson Gallery London, May 2018

Mary Corse’s first major UK show at Lisson Gallery, London, is as much a scientific inquiry as it is art. Newtonian science extracts emotion from the situations it is used to examine, the same, by extension, could be said of its strange alter ego quantum mechanics. Review by Matthew Turner

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Scottish National Gallery Of Modern Art (Modern One), 75 Belford Road, Edinburgh, EH4 3DR

Jenny Saville: Trace

JENNY SAVILLE  Olympia, 2013 - 2014  Charcoal and oil on canvas, 217 x 290 cm copyright Jenny Saville.  Courtesy of the artist and Gagosian

Jenny Saville’s paintings have always explored the insistence of corporeal mass, the fleshiness of flesh...

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Mother's Tankstation, 26 Holborn Viaduct, London EC1A 2AT

Maria Farrar: Eaves Deep

Dresser

Though it appears brittle, the Greyhound is strong and quick, its structure contradicts its force. Similarly with Maria Farrar’s paintings, lines become not just convenient structure, but a directional thing-in-itself. Review by Alex Bennett

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National Gallery, Trafalgar Square, London WC2N 5DN

Thomas Cole: Eden to Empire, and Ed Ruscha: Course of Empire

The Course of Empire: The Savage State

Looking at some of Cole’s earliest American landscape paintings, made after his move to New York from Philadelphia in 1825, the contrast is arresting. The Edenic quality of his scenery is hard to miss. There’s a quiet stillness to paintings like ‘View of the Round-Top in the Catskill Mountains’ (1827), in which the landscapes seem both fresh and undisturbed; not only are they new to Cole – and “new to Art”, as he writes in his journal – but they seem somehow newly created, as if the painting’s mists were rising from a just-finished topography. Review by Rowland Bagnall

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Handel Street Projects, 14 Florence Street, London N1 2DX

Graham Gussin: The Mary Jane Paintings

Graham Gussin: The Mary Jane Paintings installation view

Graham Gussin’s The Mary Jane Paintings are illegal. They aren’t illegal in the same way that the art market is increasingly criminal, such as how the sale of da Vinci’s Salvador Mundi was called ‘the biggest art fraud in history’ or how works of art featured heavily in the Panama Papers as vehicles for tax evasion and other financial crimes. Instead, they are directly illegal; made from hashish that has been ground down, mixed with linseed oil and applied to linen and paper. Review by Matthew Turner

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Witte de With Centre for Contemporary Art, Witte de Withstraat 50, 3012 BR Rotterdam, Netherlands

Irene Kopelman, a solo exhibition

Irene Kopelman, 77 Colors of a Volcanic Landscape A, B, C (2016) and Puzzle Piece (2012) part of Irene Kopelman, a solo exhibition, Witte de With Center for Contemporary Art 2018

Stepping into Irene Kopelman, a solo exhibition, lands one in an ambiguously sparse installation filled with plenty of air and light. Here it takes time to adjust to the presentation’s scope, as some of the works offer bare whispers of visual information that are delicately precise representations that cannot be grasped in a few milliseconds. Review by John Gayer

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Plymouth Arts Centre, 38 Looe St, Plymouth PL4 0EB and Plymouth College of Art, Tavistock Pl, Plymouth PL4 8AT 

History Painting: Rose Wylie

History Painting: Rose Wylie installation view

It seems near impossible to refer to the style of a Rose Wylie painting without mentioning the word childlike. Even on canvas, brush-strokes and mixes of paint still carry the instinctive childlike motion of the impulsive hand that struck them there. Review by Eva Szwarc

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