Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...
In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Kristin Stephenson (Hollis's) new exhibition is titled simply, Skin. We know the range of mark-making in her drawing has long been compelling. Charcoal is variously rubbed, scrubbed and stabbed to describe the form of things, or the skin of things one might say. But here in the big work, The Potter (C.L.), the skin of the drawing, a surface that very much betrays the rhythms of its making, is more important than any likeness to the subject (Cheryl Lucas) herself.
So does Stephenson actually get us under the skin of things? Very probably. We see local critic Andrew Paul Wood giving of himself in ways never revealed before - a process of undressing if you like, of getting beneath the skin of things, involving both artist and sitter over several weeks early this year. The give and take in this nuanced process is revealed in an unexpectedly tender and prone back view presented here in APW #1.
Otherwise, the drawings range in scale and in age from the very recent to several from years past. Woolly (Third), 26 & 27 June 2007 comes from a long and fine line of maniacal sheep. The small framed ballpoint on paper Potsdamer Platz, 2009 has a concentrated sinuous energy to it, that is both very vital and wonderfully old-school in feel.
The coloured painted elements in the show feel more contemporary. There is a variable but soft, strawberry pink ground in R.H. (as J.B.) that adds lustre and presence to the powerful line in the work. Pussy's brushstrokes cleverly suggest both agitation and something more voyeuristic, whilst in Dream, Dream Baby, orange at the top and along both edges conjures poise and unease simultaneously, in a painting that is somehow both elegant and desperately human at the same time.
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