Viewing articles tagged with 'Printmaking'
Ashmolean Museum, Beaumont Street, Oxford, England
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
Bonington Gallery, Nottingham Trent University, Bonington building, Dryden Street, Nottingham, UK, NG1 4GG
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.
Cooper Gallery, DJCAD, 13 Perth Road, Dundee DD1 4HT
‘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
Mon Chéri, 67 rue de la Régence, 1000 Brussels,
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.
Sluice, Bargehouse, Oxo Tower Wharf, South Bank
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.