Viewing articles tagged with 'Painting'

Charleston House, Firle, Lewes East Sussex BN8 6LL

Shani Rhys James: tea on the sofa, blood on the carpet

Shani Rhys James: tea on the sofa, blood on the carpet, Charleston, 1 February - 19 April 2020

Welsh artist Shani Rhys James’ portraits are brutally honest and emotionally charged. Many of the paintings in the exhibition draw on Rhys James’ childhood memories or explore her uneasy relationship with her mother. In ‘Blue Top’ (2013), the woman is depicted in early middle age, looming large above her small daughter, while in ‘Glass of Water’ (2017), she lies hunched against her pillows after suffering a stroke late in life. In both large paintings, the woman’s dark eyes stare out from the canvas – pupils which, on closer inspection, resolve from black into impasto swirls of purple, blue and green. Review by Anna Souter

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Tate Modern, Bankside, London SE1 9TG

Dora Maar

Dora Maar at Tate Modern, 2019.

Tate Modern here highlights how vast, rich and varied Maar’s work was, over five decades, in striking curatorial choices. It powerfully repairs an injustice in the history of art. Moving chronologically from her first photographs to her experimental return to the dark room, the exhibition displays different phases of a sublime career, kick-started in an iconic place and time: Paris in the 1930s within the Surrealist movement. Review by Melissa Chemam

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CAN Christina Androulidaki Gallery, Panagiotou Anagnostopoulou 42, Athina 106 73, Greece

Celia Daskopoulou

Untitled

In this extraordinary show, CAN Gallery focuses on paintings of men from the 1980s and 90s by Greek artist Celia Daskopoulou. Like many avant-garde Greek artists Daskopoulou left her conservative native country to study in Paris in the 1960s, returning to Athens in the 1970s where she developed her mature style. This largely focused on heavily stylised portraits of women that satirised traditional female depiction and roles in society. Review by William Summerfield

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SPACE Ilford, 10 Oakfield Road, Ilford, IG1 1ZJ

Lindsey Mendick: Regrets, I’ve Had a Few

Lindsey Mendick: Regrets, I've Had A Few, 2019. Mixed media installation including: ceramics, paint and fabric.

Many of the works comprising Lindsey Mendick’s exhibition are the culmination of a series of ceramic workshops she led for Ilford-based over 65 year-olds, including over 70 ceramic sculptures – ranging from Dorothy Gale-style red stilettos and a bird bath, elaborately decorated vases and colourful crockery, fabric clad angel figurines and anthropomorphic animals at sail in a fictional sea – together with painted wall murals, fabric banners, and sculptural display structures. The show marks the grand opening of the new SPACE Studios in Ilford situated in the rear of the Town Hall. Review by Tyler Woolcott

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Irish Museum of Modern Art, Dublin

Derek Jarman: PROTEST!

The Garden

The vast scale of work on show is what grips you first when entering ‘PROTEST!’, the Derek Jarman retrospective at Dublin’s Irish Museum of Modern Art (IMMA). It spans the entirety of IMMA’s West Wing, comprising 11 rooms, a number of alcoves and two long, connecting corridors. The show displays works from the four decades of Jarman’s career, beginning in the late-50s, as he entered King’s College London, through to the ‘90s and his untimely death in 1994 from an AIDS-related illness aged just 52. Review by Aidan Kelly Murphy

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Camden Arts Centre, Arkwright Road, London NW3 6DG

Vivian Suter: Tintin’s Sofa

Vivian Suter, Tintin’s Sofa, installation view, Camden Arts Centre.

The dramatic arrangement of works suggests the organic and vegetal profusion of a complex living system such as a rainforest. This is a deliberate echo of the rainforests which surround Vivian Suter’s lakeside studio in Guatemala – a place that plays a fundamental role in the making and meaning of the artist’s work, and which leaves its physical traces on her paintings. Review by Anna Souter

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Kristian Day, Broadway Gallery, 2 The Arcade, Letchworth Garden City SG6 3EW

Parade

Chris Alton, After the Revolution They Built an Art School Over the Golf Course, 2017, textiles

The artists in ‘Parade’ are woven together with common threads of narrative and socially engaged themes. In vivid colours and an assortment of textures, the exhibition boasts multi-sensory appeal. Review by Sara Makari-Aghdam

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Various locations, Singapore

Singapore Bienniale

Dennis Tan, Many Waters to Cross, 2019.

The beautiful vistas of rivers conjure a fantasy of a communal globalised world. As we watch the swirling river waters, the narration recalls that the Mekong became a dividing line of partition, as family members risked their lives to cross the river to escape to Thailand from the communist regime change of 1975. Piers Masterson reviews the Singapore Biennale, reflecting on highlights from this large, multi-sited and politically charged display.

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Galeria Le Guern, Katowicka 25, 03-932 Warszawa, Poland

Alicja Gaskon: Dividing Lines

Dividing Lines, installation

Inspired by her recent trip to the North Korean border, Warsaw-based artist Alicja Gaskon presents ‘Dividing Lines’: a physical and conceptual representation of the most prominent boundaries through history. From North Korea to the Berlin Wall, and more recently, Trump’s wall, Gaskon’s inquiry accentuates the absence of ethical consideration within the rationale of national preservation. Review by Elaine Y.J Zheng

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Hammer Museum, 10899 Wilshire Blvd, Los Angeles, CA 90024, United States

Lari Pittman: Declaration of Independence

How Sweet the Day After This and That, Deep Sleep Is Truly Welcomed

It’s a testament to the strength of the show that it not only introduces us to Pittman’s incredible range, but gives us enough depth to familiarise us with his recurring motifs and hallmarks, allowing us to find a thread through the galleries. Review by Deborah Krieger

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Hastings Contemporary, Rock-A-Nore Rd, Hastings TN34 3DW

Victor Willing: Visions

Standing Nude

Hastings Contemporary’s retrospective ‘Victor Willing: Visions’ is the first of its kind since the British artist’s death in 1988. It includes sixty-five paintings, drawings, and sculptures spanning the entirety of his career. But to describe Willing’s work in this way, like the work of any other artist – with a beginning, a middle, and an end – is to do so incorrectly. Willing’s artistic output has a beginning and it has an end, but it is missing a middle. It is because of Willing’s ‘stasis’, as John McEwan describes the decade-long period during which he stopped painting, that he has remained relatively unknown. But it is also what makes his work so intriguing. Review by Jack Head

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Victoria Miro Gallery, 16 Wharf Road, London N1 7RW

Celia Paul

Installation view, Celia Paul, 13 November - December 2019.

“I am no bird; and no net ensnares me: I am a free human being with an independent will.” These are the words that Jane Eyre uttered defiantly to Mr Rochester in Charlotte Brontë’s tale of love and woe. And like Brontë and her sisters, living in the restraints of their father’s parsonage, the British artist Celia Paul spent her youth surrounded by women in the Devonshire and Yorkshire countryside, where her father was the Bishop of Bradford. Review by Claire Phillips

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The Sunday Painter, 117-119 South Lambeth Road, London SW8 1XA

Chips and Egg

Milly Thompson, Nor playing the flute, 2015, Oil and acrylic on board, 61 × 51 cm

‘Chips and Egg’ quotes a classic piece of British cinema,’ Shirley Valentine’. The film tells the story of a Liverpool housewife breaking out of her world of domestic cliché to embark on a spontaneous Greek holiday and find love and adventure only to end up in another set of clichés. This is precisely the self-digesting system of cultural production that’s light-heartedly recognised by this exhibition. The success of ‘Chips and Egg’ lies in highlighting the beauty and sincerity in seemingly futile repetition for the sake of care, survival, indulgence and art. Review by Sonja Teszler

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Royal Hibernian Academy, Gallagher Gallery, 15 Ely Place, Dublin 2, Ireland

SUBSET: Micro Vs. Macro

SUBSET: Micro Vs. Macro

While there are a number of strands to the on-going topic of the climate that require action, fundamentally at their core is a need for behavioural change. This topic forms the core of ‘Climate’ - a three-part project from SUBSET, which is an anonymous collective of artists known for their arresting street murals. Review by Aidan Kelly Murphy

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