Viewing articles tagged with 'Painting'

The Fruitmarket Gallery, 45 Market St, Edinburgh EH1 1DF

Jac Leirner: Add It Up

Jac Leirner, Add It Up, installation view The Fruitmarket Gallery 2017.

Leirner’s works frequently organise and repurpose slight ephemera into a surprising coalescence. Whilst the career-wide spectrum of activity on display successfully demonstrates the consistent concerns within her oeuvre, the volume of works within this cross-section seems at odds with their essential simplicity, which at times is perhaps diluted in the two satiated galleries. Review by Nathan Anthony

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Thomas Dane Gallery 3 Duke Street St James's London SW1Y 6BN

Naming Rights

Naming Rights at Thomas Dane Gallery 2017, Installation View

‘Naming Rights’ is a unique exhibition that discloses the arcane mechanisms of an artist run project space, converting the gallery into a place for artistic research and experimentation. The result is a distinctive presentation of works by international artists. Review by Fiorella Lanni

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

Dreamers Awake

Dreamers Awake, Installation view, 27 June - 17 September 2017

The bodies without eyes, without hands, fragmented and uncanny, as portrayed by the multiple generations of female artists presented in ‘Dreamers Awake’ hijack Surrealist tropes and techniques, and both reproduce and resist the voyeuristic gaze. Review by Anya Smirnova

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The Hepworth Wakefield, Gallery Walk, Wakefield, West Yorkshire WF1 5AW

Howard Hodgkin: Painting India

Installation image of Howard Hodgkin: Painting India, 1 July - 8 Oct 2017 at The Hepworth Wakefield.

In his paintings of India – great, gestural strokes of colour – Howard Hodgkin sought to show the fleeting moments and conversations that form an impression of a place. Review by Phoebe Cripps

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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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Lodos gallery, García Icazbalceta #30, Colonia San Rafael Mexico City, Mx. 06470

Korakrit Arunanondchai

Installation View

Lodos presents Korakrit Arunanondchai's first exhibition in Mexico and Latin America. The show features a single piece installation which houses his recent video 'Painting with History in a Room Filled With People With Funny Names 3.'

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Vito Schnabel Gallery, Via Maistra 37, 7500 St. Moritz, Switzerland

Walter Robinson: The Americans

Installation view, Walter Robinson, The Americans, Vito Schnabel Gallery, St. Moritz, 2017

"Robinson’s exploitations of pop imagery succeed by failing the Pictures Generation shibboleth of ironic detachment. In his paintings, the louche sexual glamour of penny dreadfuls and the temptations of booze and junk food are palpable—only the more so, nostalgically, now that the artist is abstemious. Robinson is a Manet of hot babes and a Morandi of McDonald’s French fries and Budweiser beer cans, magnetized by his subjects as he devotes his brush to generic painterly description." – Peter Schjeldahl, "A Man-About-Downtown Gets His Due," The New Yorker, September 26, 2016

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Thomas Dane Gallery, 3 & 11 Duke Street St, London SW1Y 6BN

Cecily Brown: Madrepora

Cecily Brown, Madrepora, 2016. Installation view Thomas Dane Gallery, London.

Powerful and erotic imagery is embedded within the painted skins of Cecily Brown's work. Piers Masterson reviews her solo exhibition 'Madrepora', Brown's first at Thomas Dane's St. James' gallery.

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Pippy Houldsworth Gallery, 6 Heddon Street, London W1B 4BT

Ayan Farah: Maps

Ayan Farah, Maps, installation view, Pippy Houldsworth Gallery, London, 2016

Farah's paintings stitch together personal histories, techniques, materials and diverse frames of reference, all underscored by the history, geography and politics of ownership, gender, labour and production. Review by Anneka French

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Rue des Sablons 6, 1205 Genève

Yves Zurstrassen

Exhibition view, Yves Zurstrassen, Galerie Xippas, Geneva, Switzerland, 2017

Yves Zurstrassen’s work is always moving, going from lyrical abstraction to abstract expressionism and vice versa. The Belgian artist develops a singular creating process and uses a very particular technique that reflects the desire to go beyond temporality.

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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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Capitain Petzel, Karl-Marx-Allee 45, 10178 Berlin

Sarah Morris: Cloak and Dagger

Metropolis

The second solo exhibition by Sarah Morris at Capitain Petzel, Berlin, Cloak and Dagger, sees a new and recent films and paintings examine the fictional, internal and external architectural landscape inhabited by Fritz Lang who directed the film noir classic, Cloak and Dagger, from which the exhibition gets its title.

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Rhubaba Gallery and Studios, 25 Arthur St, Edinburgh, EH6 5DA

You hardboiled     I softboiled

Installation view, You hardboiled I softboiled, Rhubaba Gallery and Studios, 2017 (Valerie Norris, Music for Intelligent Young Ladies (2013), and, bedroom furniture (2013)).

In this intriguingly titled and intimately composed exhibition, ideas of how love and its stories might be practiced, sought and appropriated move between the published page and spoken word, and are heard through sound and audio. Love is also framed within filmed moments and presented in painted gestures; it is seen in close proximity and recognised across vast distances. The love stories described here are sensed in places, portraits, correspondences and spectres. Review by Alex Hetherington

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