Viewing articles tagged with 'Printmaking'

Galerie Thaddaeus Ropac, Ely House, 37 Dover St, Mayfair, London W1S 4NJ

Robert Rauschenberg: Spreads 1975-83

The sun-soaked palette of Rauschenberg’s home on Captiva Island in Florida, where he settled in 1970, is injected into works like Lipstick (Spread) (1981), with its crimson umbrella and smear of bubble-gum pink. Umbrellas find their way back into another highlight of the show, Untitled (Spread) (1982), where two open parasols like blooming sunflowers bring harmony to a reel of collaged pictures of the American flag, shipping containers and lithe athletes. Review by Claire Phillips

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Tate Modern, Bankside, London SE1 9TG

Anni Albers

Albers didn't settle, she was intellectually and physically restless in her bid to elevate her discipline in the world of art and architecture. Review by Selina Oakes

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Ashmolean Museum, Beaumont Street, Oxford, England

America’s Cool Modernism

Above all, in America’s Cool Modernism at the Ashmolean Museum, the absence of human presence in the artworks betrays an anxiety towards the place of people in an increasingly mechanised world. I found myself thinking about the photographs of Detroit that surfaced several years ago, showing the derelict buildings and factories that remain in the wake of the city’s bankruptcy. Review by Rowland Bagnall

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Bonington Gallery, Nottingham Trent University, Bonington building, Dryden Street, Nottingham, UK, NG1 4GG

It’s Our Playground: Artificial Sensibility

A solo exhibition of new work by Paris-based artist duo It’s Our Playground (IOP), comprised of Camille Le Houezec and Jocelyn Villemont. Artificial Sensibility continues the duo’s ongoing reflection on artificial intelligence – when technology mimics human cognitive behaviour. Artificial Sensibility reveals a hybrid learning process of automated principles of recognition and basic human methods of education.

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Cooper Gallery, DJCAD, 13 Perth Road, Dundee DD1 4HT

Poster Club: NEW Wheat, NEW Mud, NEW Machine

‘NEW Wheat, NEW Mud, NEW Machine’ is a major exhibition of works by Glasgow-based artist collective Poster Club, emerging from their participation and presentation in Cooper Gallery’s initiative 'CURRENT', an ongoing two-year international project with Shanghai Himalayas Art Museum in China. Review by Alexander Hetherington

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Mon Chéri, 67 rue de la Régence, 1000 Brussels,

Yonatan Vinitsky: Sortie Définitive

It is not unusual for Yonatan Vinitsky’s solo exhibitions to look like group exhibitions. The formal diversity of his works as well as that of the techniques used often produce a heterogeneous landscape that a distracted viewer would have trouble attributing to one and the same person. His solo exhibition at Mon Chéri brings together three of the artist’s new productions, along with two recent series of works.

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Sluice, Bargehouse, Oxo Tower Wharf, South Bank

After Carl - An interview with André de Jong, Andrew Lacon and Cathy Wade at Sluice 2015

Artists André de Jong, Andrew Lacon and Cathy Wade in conversation at Sluice 2015 with Anneka French. ‘After Carl’ discusses the discrepancies around Carl Andre's 'Equivalent VIII' (1966) - its description, measurements, provenance and position within art history in relation to new work made for exhibitions at Exchange Rates, New York (2014), Sluice (2015) and a new publication.

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Grand Union, 19 Minerva Works, Fazeley Street, Birmingham B5 5RS

Fay Nicolson: OVER AND OVER PURE FORM

OVER AND OVER PURE FORM presents a body of interconnected works exploring embodied learning and the distance between experience and images.

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BEERS London, 1 Baldwin Street London EC1V 9NU

Elizabeth Corkery: Pictures of Pieces

Corkery's work uses repetition, disruptive rhythm and simulation to disorientate the viewer. Samantha Johnson reviews the exhibition at BEERS London.

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Petzel Gallery, 456 W 18th Street, New York, NY 10011

John Stezaker

Petzel Gallery is pleased to announce an exhibition of new silkscreens by the London-based artist John Stezaker and the U.S. premiere of his film "Blind."

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