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Still from Matilda Skelton Mace, Sky Island, 2017. Courtesy of the artist.
Art Consultancy 3 May 2017 By teamcas

Winner of the Aspen Online Art Award creates a virtual world from the unique digital fingerprints of users

The £5,000 commission launched on 3 May 2017

Image: Installation view of Women to Watch UK: Metal at Phillips, 14 - 21 November 2017. Courtesy of Phillips.
Friday Dispatch 10 Nov 2017 By Caroline Douglas

Women to Watch UK: Metal at Phillips London

A great opportunity to see some very substantial work by artists one does not often see in such a prominent space in central London.

Aaron Angell, Platter, 2017. Reduced stoneware with ash glaze and dead frog residue. Courtesy of Rob Tufnell.
Friday Dispatch 20 Oct 2017 By Caroline Douglas

Juha Pekka Matias Laakkonen at Corvi-Mora and Aaron Angell at Rob Tuffnel, 139 Lambeth Walk

We visit two shows in South London rooted in the natural world, with elements of the fantastical

Toby Ziegler, installation image. Image: © the artist, courtesy of New Art Centre, Roche Court Sculpture Park.
Friday Dispatch 6 Oct 2017 By Caroline Douglas

Toby Ziegler: Slave and Nao Matsunaga: Blue & White at New Art Centre, Salisbury

While no claims are made for connections between the two shows, an acutely contemporary interrogation of their respective genres informs both bodies of work, and makes for an exceptionally satisfying visit.

Jessica Warboys, Tremolo, 2017. Wood, pvc pipe, acrylic paint, 81 x 81 x 27 cm. Image courtesy French Riviera © Jessica Warboys
Friday Dispatch 22 Sep 2017 By Caroline Douglas

Jessica Warboys – Tremolo, at French Riviera

French Riviera has that almost unheard-of thing: a true spirit of experimentation and risk-taking

Richard Long, White Deer Circle, 2016 © Pete Huggins
Friday Dispatch 14 Jul 2017 By Caroline Douglas

Richard Long: EARTH SKY at Houghton Hall

EARTH SKY at Houghton Hall shows Richard Long at the top of his game and should not be missed.

Anne Hardy, Falling and Walking (phhhhhhhhhhh phossshhhhh crrhhhhzzz mn huaooogh) at Art Night 2017. © Anne Hardy, Photographer: Angus Mill
Friday Dispatch 30 Jun 2017 By Caroline Douglas

Anne Hardy: Falling and Walking (phhhhhhhhhhh phossshhhhh crrhhhhzzz mn huaooogh) at Art Night 2017

This is her largest ever single installation and after Art Night the work will become the first of Hardy’s increasingly ambitious works to enter a permanent museum collection.

Ron Nagle, Casting Aspersions, 2016, ceramic, catalysed polyurethane and epoxy resin, 14.6 x 9.5 x 11.4 cm, 5 3/4 x 3 3/4 x 4 1/2 ins. Photograph by Don Tuttle. Image copyright the artist and courtesy Stuart Shave/Modern Art, London
Friday Dispatch 23 Jun 2017 By Caroline Douglas

Ron Nagle: Amended Testimony at Stuart Shave/Modern Art

Ron Nagle’s beautifully installed first ever UK solo show offers a new perspective on the history of ceramic sculptures as an art form.

Ex Machina display at Into the Unknown: A Journey through Science Fiction, Barbican Centre 3 June – 1 September. Credit Tristan Fewings / Getty Images.
Friday Dispatch 9 Jun 2017 By Caroline Douglas

‘Into the Unknown: A Journey through Science Fiction’ at Barbican Art Gallery, London

“We are only seeking Man. We have no need of other worlds. We need mirrors.”

Maeve Brennan, The Drift (2017). HD video with sound, 50′ 29” (video still). Produced by Chisenhale Gallery, London and Spike Island, Bristol. Commissioned by Chisenhale Gallery; Spike Island; The Whitworth, The University of Manchester; and Lismore Castle Arts, Lismore. Courtesy of the artist.
Friday Dispatch 2 Jun 2017 By Caroline Douglas

Maeve Brennan: The Drift at Chisenhale Gallery, London

Brennan’s portrait of three individuals in Lebanon is sensitive, sympathetic and nuanced, all the while overlaid with the optimism inherent in the metaphorical act of mending.

Installation view, Jordan Wolfson, Riverboat song, Sadie Coles HQ, London, 27 April – 16 June 2017. Copyright the artist, courtesy Sadie Coles HQ, London. Photography: Robert Glowacki
Friday Dispatch 19 May 2017 By Caroline Douglas

Jordan Wolfson at Sadie Coles HQ

These are bitingly sardonic works that operate nimbly across a multiplicity of media, negotiating the complexity of many different allusions without ever being explicit about references.

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