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Fourthland with Rosalind Fowler, BREADROCK, installation view at PEER, Hoxton. Works by artists and objects belonging to Wenlock Barn residents. Photo by Stephen White
Friday Dispatch 2 Mar 2018 By Caroline Douglas

Fourthland with Rosalind Fowler, BREADROCK at PEER, Hoxton

Working on a hyper-local level, Fourthland and Fowler’s project explores what living with a global perspective feels like: how it alters our personal imaginary, our habits, our modes of living together

Clive Hodgson, Untitled, 2017. Oil on canvas, 55 x 60 cm. Courtesy of Arcade
Friday Dispatch 2 Feb 2018 By Caroline Douglas

Clive Hodgson at Arcade, London

Clive Hodgson is the ideal painter to mark the 10th anniversary for the gallery. Dealing in a form of conceptual abstraction, he has long made the dating and signing of his paintings the foremost compositional element.

Bridget Riley, Quiver 3, 2014. Graphite and acrylic paint on plaster wall. © Bridget Riley 2017, all rights reserved. Courtesy David Zwirner, New York/London
Friday Dispatch 26 Jan 2018 By Caroline Douglas

‘Bridget Riley: Recent Paintings 2014-17’ at David Zwirner London

More than 50 years since she made her name, Riley thrills by demonstrating that she is still testing the terms of engagement with painting – with the same rigour, the same appetite for risk.

Image: Installation view of Isabel Nolan: Another View from Nowhen at Bloomberg SPACE. Courtesy of the Artist and Kerlin Gallery.
Friday Dispatch 19 Jan 2018 By Caroline Douglas

Isabel Nolan: ‘Another View from Nowhen’ at Bloomberg SPACE and the London Mithraeum

Do book yourself a slot to see the Mithraeum and Isabel Nolan’s remarkable response to it. This is the new, old London: repackaged, reinterpreted.

Michael Armitage, Exorcism, 2017, © Michael Armitage. Photo © White Cube (Ben Westoby). Courtesy of the Artist and the Harry and Lana David Collection.
Friday Dispatch 12 Jan 2018 By Caroline Douglas

Michael Armitage: The Chapel at South London Gallery

Armitage has a remarkable facility as a painter, a command of colour and a seductive line. I for one will enjoy watching him continue to explore the territory he has claimed for himself.

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, Courtesy Maureen Paley, London. 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.

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