Olivia Sterling, Trifling (2020). Acrylic on canvas. 100 x 100 cm. Courtesy the artist.
Eugenio Dittborn, Coudre Provisoirement a Long Points, Airmail Painting No. 183 (2011–2012). Courtesy Alexander and Bonin, New York. Photo: Jorge Brantmeyer.
On Friday 17 September, London’s Goldsmiths Centre for Contemporary Art opened three highly anticipated autumn exhibitions: Olivia Sterling: Really Rough Scrubbing Brush; Sam Keogh: Sated Soldier; Sated Peasant, Sated Scribe; and Eugenio Dittborn: Airmail Paintings.
Led by curator Sarah McCrory, the gallery has carved a distinguished reputation for finding and nurturing young talent in addition to rediscovering both artists and broader historical movements since its conception in 2018.
For instance, since her solo exhibition last year, Sophie Barber has now shown with Alison Jacques Gallery and Chris Sharp, and Lindsey Mendick, who also exhibited last year, has now found representation with Carl Freedman Gallery. Their 2019 exhibition How Chicago! Imagists 1960s & 70s played a key role in a market rediscovery of the surreal and political painting movement.
Main image: Olivia Sterling, Trifling (2020). Acrylic on canvas. 100 x 100 cm. Courtesy the artist.
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