Sadie Coles Kingly St

May 2018

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. 

Marian Goldman; Frith Street Gallery

Nairy Baghramian, Cristina Iglesias, Giuseppe Penone, Anri Sala, Thomas Struth

Modernity and the light we see it in is a long-standing theme in John Riddy's work ranging from the modernist architecture of 1930s Britain through to the architecture of Courbusier in Chandigarh. This exhibition of new works from the past two years consists of large scale colour photographs which depict disparate views similarly characterised by notions of progress; London’s Victorian railway arches, a tree local to Riddy’s studio newly lit with led lighting, a view across Lower Manhattan encompassing the High line, the new Whitney Museum of American Art and Ground Zero. 

27th February 2018

A smattering of snow greated todays walk around Soho, we crossed into Mayfair to see two very different galleries.

Firstly the brand new Laz Inc. Famous street artist's new Mayfair joint, looks amazing, although there seems to be a touch of apology of the location in some of the press.

Then PACE London on Burlington Gardens exhibits Tara Donovan: Compositions.

Known for her commitment to process, Donovan has earned acclaim for her ability to discover the inherent physical characteristics of an object and transform it into art.