Viewing articles tagged with 'Sculpture'
South London Gallery, 65-67 Peckham Road, London, SE5 8UH
‘Last Seen Entering the Biltmore' is a show that explores the possibilities and interferences created by piercing through that imaginary wall that separates the stage from the backstage. Review by Francesca Cavallo.
Kunstraum, Gorsuch Street, London, E2 8HD
For Zin Taylor’s first solo show in the UK the Canadian-born Belgium-based artist has produced a new series of works on paper that incorporate thick marker pen lines, clippings from the artist’s archives, naïve pencil sketches and cuts of cured snakeskin. Review by Beth Bramich.
firstsite, Lewis Gardens, High Street, Colchester, Essex, CO1 1JH
The exhibition 'Sculpture, Painting, Photography, Film' draws together a wealth of archival material surrounding Bruce McLean’s early conceptual works and experiments with sculpture. Review by Elizabeth Holdsworth.
Modern Institute, 3 Aird’s Lane, Glasgow G1 5HU
Richard Wright continues his work with York Glaziers Trust - Britain’s oldest stained glass conservation studio, who have a special connection to the medieval windows at York Minster. For this project he has made four leaded glass skylights in the ceiling at Aird’s Lane.
Chandelier Projects, Studio 16, Victor House 282a Richmond Road Hackney, London E83QS
Holy Island borrows from the provincial traditions of British Romantic painting alongside a personal archive of tabloid newspaper photographs, children’s illustration and advertising imagery. Foster offers a sardonic and often humorous swipe at the role of nationalism, religion and our commonly assumed cultural values. The exhibition presents a peculiarly British world: petty, vengeful, absurd and contradictory.
Rua Red, Blessington Road, Tallaght, Co. Dublin, Ireland
CASH RULES EVERYTHING AROUND, an exhibition curated by Nora O Murchú at Dublin’s Rua Red Gallery, derives its title from ‘C.R.E.A.M.’ (Cash Rules Everything Around Me) – the Wu-Tang record released in 1994, back in the ‘good old days’ of net art produced and distributed in ways that bypassed the art market, and the attention of the majority of the art world. Review by Lizzie Homersham
Cole Gallery, 19 Goulston St. London. E1 7TP
A collection of immaculately turned out objects populate the two floors of Cole Gallery for Jackson Sprague’s latest exhibition, emanating a dapper, old-school charm. Indeed, on walking through the door I half expect a jazz band to swing into action, such is the predominant mid-century style.