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Alison Wilding, Arena, 2000.  Courtesy the artist and Karsten Schubert. Photo by Peter White
Friday Dispatch 1 Jul 2016 By Caroline Douglas

Alison Wilding: Arena Redux, Art House Foundation

After sixteen years packed away in wooden crates, this radiantly wonderful sculpture is for a short time on view to the public again.

Switch House, Tate Modern © Iwan Baan
Friday Dispatch 17 Jun 2016 By Caroline Douglas

A Postcard from the Switch House

The new face of the museum is as a place for encounters, for social engagement, activism and the brokering of new relationships enabled by art.

Nairy Baghramian, Scruff of the Neck (LR 30/31/32), 2016. Cast and polished aluminum, polished aluminum rods, plaster, beeswax and rubber, 245 x 247 x 134 cm. Courtesy the artist and Marian Goodman Gallery, New York, Paris & London Photo by Thierry Bal
Friday Dispatch 10 Jun 2016 By Caroline Douglas

Nairy Baghramian, Scruff of the Neck, at Marian Goodman Gallery

Anyone who has paid handsomely for orthodontic treatment will grudgingly attest to the way tailor-made tooth-training devices can resemble miniature sculptures. Baghramian’s work co-opts some of these forms, but scaled as if the skull were the size of the gallery spaces.

Anne-Mie Van Kerkhoven, Van Vlasselaer, 2016. 195 x 290 cm cotton tapestry, edition of 2. Courtesy of the artist and Zeno X Gallery. Photograph by Peter Cox
Friday Dispatch 3 Jun 2016 By Caroline Douglas

A Postcard from Antwerp

There is a thriving art scene in Antwerp, with a slew of commercial galleries supporting it in addition to the public spaces.

Double Take, installation view, Drawing Room, 2016. Courtesy Drawing Room, photo: Lucy Dawkins.
Friday Dispatch 20 May 2016 By Caroline Douglas

Double Take: Drawing and Photography, Drawing Room and The Photographers’ Gallery

Today I want to direct your attention to Bermondsey and a superlative, concise little show at the Drawing Room. This is in fact a collaborative project in partnership with The Photographers’ Gallery and examines the way some artists have combined the media, probing the limits of each one.

Sarah Lucas, POWER IN WOMAN, Sir John Soane’s Museum London, 10 March – 21 May 2016. Copyright the artist, courtesy Sadie Coles HQ, London and Sir John Soane’s Museum, London. Photo: Julian Simmons
Friday Dispatch 13 May 2016 By Caroline Douglas

Sarah Lucas, POWER IN WOMAN, at Sir John Soane’s Museum, London

There is still a week in which to catch Sarah Lucas’ exhibition at the Sir John Soane’s Museum, and it is well worth the detour, whether you saw her British Pavilion in Venice last year, or not.

Tomma Abts, installation view, greengrassi, London, 2016. Photo: Marcus Leith. Courtesy of greengrassi, London
Friday Dispatch 6 May 2016 By Caroline Douglas

Tomma Abts at greengrassi

Currently open at greengrassi in Kennington, London, Tomma Abts’ first show in five years with her London gallery is a must-see.

Angela de la Cruz, Larger than Life, 2004, and Table, 2016, PEER, 2016. Courtesy Angela de la Cruz and PEER. Photo Chris Dorley-Brown.
Friday Dispatch 29 Apr 2016 By Caroline Douglas

Angela de la Cruz, Chris Ofili and London Fieldworks at PEER

The modern mythology of the East End records the arrival of the YBAs in Shoreditch in the late 1980s.

Puppets by Franciszka Themerson for KUNG UBU, Marionetteatern, Stockholm, 1964 Photo: Valerie Bennett
Friday Dispatch 22 Apr 2016 By Caroline Douglas

Karl Holmqvist, READ DEAR, and Franciszka & Stefan Themerson, Books, Camera, Ubu at Camden Arts Centre

A brilliantly complementary pair of exhibitions featuring artists with a shared love of language.

Sheila Hicks, Tramway, installation view at Glasgow International Festival, 2016. Photo: © Ruth Clark
Friday Dispatch 15 Apr 2016 By Caroline Douglas

Postcard from Glasgow International Festival

This latest edition of the festival is a reminder, as if it were necessary, of why Glasgow is such an important international centre for visual art.

Channa Horwitz , 'Time Structure Composition III, Sonakinatography I', 1970, Casein paint on graph paper. Courtesy Estate of Channa Horwitz. Photo by Timo Ohler
Friday Dispatch 8 Apr 2016 By Caroline Douglas

Channa Horwitz at Raven Row, London

For anyone who may have come across her work for the first time at the 2013 Venice Biennale, or last year at the Tinguely Museum in Basel as part of Haroon Mirza’s collaborative exhibition, this is at last an opportunity to grasp Horowitz’ project in greater depth.

Elizabeth Price, 'A RESTORATION', 2016, two screen HD video installation, 18:36 min. Courtesy of the artist and MOT International, London & Brussels. Made in response to the collections and archives of the Ashmolean and Pitt Rivers museums, commissioned as part of the Contemporary Art Society Annual Award for Museums. Produced in partnership with the Pitt Rivers Museum and The Ruskin School of Art
Friday Dispatch 18 Mar 2016 By Caroline Douglas

Elizabeth Price, A RESTORATION, the Ashmolean Museum, Oxford

Elizabeth Price’s unique way of addressing her subject renders it intellectually thrilling, as well as physically exhilarating to experience

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