Levy Gorvy

   


                                                

Source and Stimulus: Polke, Lichtenstein, Laing

                                                    

devoted to the Ben-Day dot. Featuring exceptional works by the legendary trio of artists, this is the first exhibition to connect them on the basis of their manipulation of the dot, transforming imagery from the commercial sphere into fine art.

Hauser & Wirth.

 

                        Matthew Day Jackson Still Life and the Reclining Nude

The series of still life ‘paintings’ are direct representations of Jan Brueghel the Elder’s and Younger’s genre defining series of flower paintings from the 16th and 17th centuries, made during a time of Dutch colonial expansion and exploitation. The significance of these works for the artist is their simultaneously beguiling and prosaic qualities; they are both an exuberant expression of nature’s bounty and a visual manifestation of power and wealth.


                       

Lorna Simpson’s inaugural exhibition at Hauser & Wirth London, ‘Unanswerable’, features new and recent work across three different media: painting, photographic collage and sculpture. Simpson came to prominence in the 1980s through her pioneering approach to conceptual photography, which featured striking juxtapositions of text and staged images and raised questions about the nature of representation, identity, gender, race and history.

Sprueth Magers

in the basement gallery, Meeting You Halfway II (2009) projects two identical partial ellipses, that expand and contract at different speeds, angles and proportions from each other. Occasionally the forms and mobile planes of light align perfectly, but only ever for a fraction of a second. Visitors are encouraged to actively manipulate the changing light constellation by physically passing through it, thereby navigating the shifting environment within the exhibition space. The dialogic nature of Meeting You Halfway II is characteristic of the immersive and participatory conditions that are so celebrated in McCall’s oeuvre.