Viewing articles tagged with 'Solo'

Marian Goodman Gallery, 5-8 Lower John Street, London W1F 9DY

Allan Sekula: Photography, A Wonderfully Inadequate Medium

Installation View of Allan Sekula: Photography, A Wonderfully Inadequate Medium

‘Photography, A Wonderfully Inadequate Medium’ presents an extensive exhibition by the late American artist and writer Allan Sekula (1951-2013). While the title aims to highlight the medium’s aporias, the show extends across photography, performance, text, and video, contrasting photography’s material mediations with its claim to realism. Review by Hugh Nicholson

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Bloc Projects, 71 Eyre Lane, Sheffield S1 4RB

Joy Labinjo: As We Were

Untitled

Six vividly-coloured paintings hang in the exhibition space at Bloc Projects, a small artist-led gallery in Sheffield presenting an entirely new body of work by British-Nigerian artist Joy Labinjo. Most focus on an individual or two against a bright, opaque background; the paintings are large, smooth and confident in their application, and bold and graphic in their style. Review by Clare Robson

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Regen Projects, 6750 Santa Monica Blvd, Los Angeles, CA 90038, USA

Christina Quarles: But I Woke Jus’ Tha Same

Change'll Come (Eventually)

‘But I Woke Jus’ Tha Same’ is a solo exhibition featuring Christina Quarles’ new paintings and drawings in which she explores how bodies interact in social environments. At first glance, her command of a rich artistic language—gestural and controlled, textured and flat, biomorphic and angular—makes her work immediately intriguing. Review by Vivian Chun-Wei Lin

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Fabrica, 40 Duke Street, Brighton, BN1 1AG

Serge Attukwei Clottey: Current Affairs

Serge Attukwei Clottey: Current Affairs, Fabrica, 18th April - 27th May 2019

On one of the hundreds of yellow plastic segments cut and woven together to form Serge Attukwei Clottey’s monumental tapestry work, someone has written in black marker, so small you might miss it amongst the waves of bright colour, “Exodus 17”. It’s unclear if the scribbled allusion has been added by the artist or whether it remains from the material’s previous life as a jerry can, used to carry cooking oil and then water in drought-hit areas of Ghana. Review by Adam Heardman

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Hauser & Wirth, 23 Savile Row, London W1S 2ET

Geta Brătescu: The Power of the Line

Geta Brătescu, Jocul formelor (Game of Forms), 2010, Collage, drawing on paper, 4 parts, 45 x 60 cm

Hauser & Wirth, working closely with the artist before her death and with Ivan Gallery, has put together a museum-quality exhibition of this remarkable artist’s work. The show draws together pieces from the last decade, a period in which Brătescu’s practice focused on working with the line as a structuring principle. Review by Anna Souter

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Hauser & Wirth, Durslade Farm Dropping Lane, Bruton Somerset BA10 0NL

Matthew Day Jackson: Pathetic Fallacy

Installation view, Matthew Day Jackson, Pathetic Fallacy, Hauser & Wirth Somerset, 2019

“Our engagement with nature, to occupy it and to flatten it to a certain extent … That’s the beginning point,” says artist Matthew Day Jackson on his exhibition ‘Pathetic Fallacy’, the result of a months’ residency in Somerset. During his time in England, the American artist had what he described as a mind-blowing experience of the countryside and kept thinking about how space was organised around the human body, nature, architecture and sculpture. Review by Gulnaz Can

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Nottingham Contemporary, Weekday Cross, Nottingham, NG1 2GB

Elizabeth Price: FELT TIP

Elizabeth Price, KOHL (still), 2018

Elizabeth Price’s solo show at Nottingham Contemporary brings together three new works. Each departs from a moment in late 20th century British history: a period marked by the collapse of the organized Left, the systematic dismantling of union power, and the programmatic reconstitution of the working class. Review by Hugh Nicholson

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Lévy Gorvy, 22 Old Bond St, Mayfair, London W1S 4PY

FOCUS: Agnes Martin

FOCUS: Agnes Martin. Installation view, Levy Gorvy, London, 2019.

This is an artist who spent her life in the pursuit of abstract painting: grids and stripes, minimal yet expressive abstractions, imperfect horizontal lines in soft, pastel shades and faint, pencil-drawn grids. A similarly meditative, light-bathed atmosphere pervades the film, and it is a revelation to see Martin’s artistic vision realised in the bread-and-butter reality of the physical landscape. Review by Clare Robson

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Locks Gallery, 600 S Washington Square, Philadelphia, PA 19106, USA

Sarah McEneaney: Callowhill

Studio

Sarah McEneaney’s painting technique is deceptively simple, reminiscent almost of folk art in its deliberate flatness, bright colours, elevated viewpoint, and attention to surface detail. Review by Deborah Krieger

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Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London SE1 0LN

Jerwood/FVU Awards 2019: Going, Gone: Webb-Ellis, Richard Whitby

The Lost Ones by Richard Whitby as part of Jerwood / FVU Awards 2019: Going, Gone exhibition at Jerwood Space

‘Going, Gone’ is the latest installment of the Jerwood/FVU Awards, and brings us two newly-commissioned films by winning artists Richard Whitby and Webb-Ellis. This year’s work ‘takes Britain’s declared exit from the European Union as a starting point for reflection on other collective experiences of transition and loss. Review by Jack Head

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

Tracey Emin A Fortnight of Tears

Tracey Emin, A Fortnight of Tears, White Cube Bermondsey, 6 February - 7 April 2019

The paintings in this exhibition splatter the flesh, blood and mucus palettes of Francis Bacon and Cy Twombly across Egon Schiele’s warped technical accuracy of human anatomy. It’s some of the best painting Emin has done for years and is enough to carry the less potent parts of the exhibition. The neon and the selfies seem to blare some loud but ineloquent kind of intimacy at you, and don’t come near the compositional mastery of the paintings and sculptures. Review by Adam Heardman

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Richard Saltoun Gallery, 41 Dover St, Mayfair, London W1S 4NS

Rose English: Form, Feminisms, Femininities

Rose English, Plato's Chair, Vancouver, 1983, Gelatin silver print, 69 x 69 cm

Two lovers lie in bed sleeping. Their duvet is a ploughed field, fabric folds replaced with the undulating peaks and troughs of soil furrows. An air of the uncanny pervades ‘Bed in Field’ (1971), a series of photographs of British performance artist Rose English and her partner of the time tucked into a pastoral landscape. Review by Lotte Johnson

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Primary, 33 Seely Road Nottingham, NG7 1NU & New Art Exchange, 39-41 Gregory Boulevard, Nottingham NG7 6BE

Hardeep Pandhal: Paranoid Picnic: The Phantom BAME

Hardeep Pandhal, Paranoid Picnic: The Phantom BAME (2019), Primary

Nottingham galleries, New Art Exchange and Primary present ‘Paranoid Picnic: The Phantom BAME’, a split-site exhibition of recent and ongoing works by Hardeep Pandhal. A second generation British Sikh now based in Glasgow, Pandhal dissects continuing projects of cultural assimilation and the performance of heritage. Review by Amelia Seren Roberts

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Nederlands Fotomuseum, Gebouw Las Palmas, Wilhelminakade 332, 3072 AR Rotterdam

Rein Jelle Terpstra: Robert F. Kennedy Funeral Train – The People’s View

Copyright William F. Wisnom Sr, Tullytown (PA), 8 June 1968, from Rein Jelle Terpstra, The People's View (2014-2018)

Rein Jelle Terpstra’s ‘The People’s View’ looks back at one of 1968’s most memorable moments to gather Americans together in disbelief: the funeral train of Democratic Presidential candidate Robert F. Kennedy, which travelled from New York City to Washington DC, on 8 June 1968. Review by Nicola Jeffs

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