A Review of David Hockney at Tate Britain, London

David Hockney: 60 years of work at London’s Tate Britain is a beautifully-curated retrospective of the artist’s multi-faceted, multi-dimensional oeuvre. Populated with some of Hockney’s most iconic paintings from across the decades, this chronological overview pinpoints the defining moments in his prolific career. His use of colour, his play with artifice and his experimental use of mediums are explored in great depth by the exhibition's team of curators Chris Stephens, Andrew Wilson and Helen Little.

A Review of Cafe Society, Directed by Woody Allen

This is a film that will challenge you, but in the Woody Allen sort of way. It’s light-hearted and self-effacing, but I doubt you’ll laugh out loud; the humour is taciturn, and always curbing the edge of something sadder – something you cannot quite put your finger on. The film opens with a black tie party, filtered through a sleek blue light. It’s quite Luhrmann’s Gatsby in feel. 

A Review of the Garage Triennial of Russian Contemporary Art, Moscow

Russia, newly fearsome and obscure, is very much in the news, but not for reasons that invite open cultural exchange. America’s Cold War adversary for four frosty decades, Russia—then called the Soviet Union—underwent a brief glasnost, or period of transparency during the late 1980s and early 1990s. What followed afterwards was its polar opposite. To borrow a phrase from William Styron, today the largest country on earth exemplifies the idea of darkness visible.

A Review of Black Hole Generation: The Kings are Back at The Dot Project

The Kings are Back at Chelsea space The Dot Project is a bold and evocative showcase of contemporary European painting from a Hungary-based collective that appears to defy convention. David Krňanský, Martin Lukáč and Julius Reichel - collectively known as Black Hole Generation - met whilst studying together at the Academy of Architecture and Design (UMPRUM) in Prague. 

A Review of Yin Xiunzhen Slow Release in Garage Museum of Contemporary Art.

The futuristic box of a building placed in a heart of the Gorky park in Moscow, Gaeage was reopened in its third building last summer. The renovated building of the Soviet-era ‘Vremena goda’ restaurant was partly preserved on the inside, while on the outside Rem Koolhaas has put into the the polycarbonate making a step away from the typical white cube of a contemporary museum.

A Review of Julio Le Parc: Form into Action at Perez Art Museum, Miami

Celebrated for his boundless energy, the 88-year old Argentinian artist Julio Le Parc is currently exhibiting at both Galerie Perrotin, New York and the Perez Art Museum, Miami. Internationally-known for his perceptually illusory paintings, sculptures, and immersive installations, the artist’s innovative artwork continues to capture the imagination of a cutting-edge, contemporary audience. 

A Review of Nan Goldin: The Ballad of Sexual Dependency at MoMa, New York

Defined as the voice of a generation, the American photographer Nan Goldin is known for capturing the most intimate experiences of her friends and lovers across Boston and downtown New York. At the Museum of Modern Art in New York, a slideshow of her iconic collection of images The Ballad of Sexual Dependency compiles nearly 700 photographs. Much of it is shot with only available light between 1979 and 1986 amidst the hard-drug subculture of the Bowery neighbourhood.

A Review of Juan Antonio Olivares: Moleculas at Off Vendome, New York

Traditional art media do not ask much of one’s time. Two- and three-dimensional works occupy space: on a wall, on a floor, or even suspended from a ceiling. To borrow from Robert Mangold, these works say, “Here I am. Plonk.” You see it. You might walk around it. You either get it or not. Job done.  Video—time-based media—demands more of the viewer, especially when the work is flat screen and full frontal as opposed to immersive or interactive.

A Review of teamLab: Transcending Boundaries at Pace Gallery, London

Established in 2001, the ‘Ultra Technologists’, TeamLab, are a Japanese tech-art collective working within the digital realm seeking to ‘transcend physical and conceptual boundaries.’ The interdisciplinary group includes professional animators, graphic designers and artists as well as mathematicians. It was established by Toshiyuki Inoko. By using the digital domain as a key element of their practice, TeamLab produce works of art that connect and flow from one to the other. 

An Interview with Artist and Glass-blower Andrew Erdos at his Studio in Bushwick, Brooklyn

The Brooklyn-based artist Andrew Erdos and I were introduced by the founders of The Chimney gallery when a visit to their Bushwick space led to a spontaneous studio visit. Before I saw any of his sculptures, videos, photography or mixed-media installations, I was blown away by the magical space within which Erdos works. His landscape photography was pasted to the windows, making you feel as if you were in a desert with his glass mountain standing triumphant. 

Fabienne Verdier: Rhythms and Reflections at Waddington Custot, London

Twelve large-scale paintings, and one video - all produced in the last year - adorn the walls of Waddington’s Cork Street space in the artist's breathtaking new exhibition Rhythms and Reflections. The paintings are a result of a phase of multimedia experimentation which began during Verdier’s time as the first visual artist-in-residence at the acclaimed The Juilliard School in New York in 2014. 

Highlights of CONDO17 across East, West and South London

Conceived by Vanessa Carlos, co-founder of Carlos/Ishikawa in Stepney Green, which represents the likes of Oscar Murillo and Ed Fornieles, this annual event allows galleries from around the world to transcend geographical boundaries and collaborate. What’s more, the whole scheme is based on generosity and mutual respect: participant galleries only have to pay their host a fee of £600 to cover expenses.

A Review of the Kader Attia exhibition at Lehmann Maupin, New York

According to the dictionary an oxymoron is a figure of speech in which seemingly contradictory terms are syntactically conjoined, like the words “alternative” and “facts,” often to ridiculous effect. The French-Algerian artist Kader Attia, has explored similarly strange juxtapositions in his latest multimedia exhibition at Lehmann Maupin, a gallery on the Lower East Side. In a video installation titled Reason’s Oxymorons,

An Interview with British artist Milla Eastwood in her Studio in Brixton, London

The Brixton-based painter Milla Eastwood and I first met at the preview of her critically-acclaimed solo exhibition Drunk on Colour at The Dot Project in Chelsea. Although I have always favoured gestural, abstract paintings, I was yet to experience her energy and dynamic colour palette. She composes her expressive work in her expansive Brixton studio, and sometimes even ventures to botanical gardens and natural landscapes.

A Review of Dan Walsh at Paula Cooper Gallery, New York

“Philip Guston makes an Agnes Martin,” is a phrase that Dan Walsh has often used in interviews to describe his work.  Initially this is a rather weird analogy, thinking of an aesthetic marriage of a politicized figurative painter (following on Guston’s reformation from Abstract-Expressionism) and a transcendent abstract painter, whose work is often confused with Minimalism.  You really have to scratch your head about “Guston x Martin,” borrowing the botanical “x” to symbolize the intergradient of two species. 

A Review of Yun Hyong-keun at David Zwirner, New York

In a brief word piece titled, “The Eccentricities of an Artist,” published in 1977, Yun Hyong-keun described his life as one without any clear distinction between living and playing. When it occurs to me, I secure my canvas and paint.  At other times, I just sit absentmindedly. . . . Painting is thus enjoyable work.  But when paintings do not work out, it feels like death. . . . In any case, just as I continue to eat and live, I continue to paint. 

A Review of Maya Rochat: Give Me Space at Seen Fifteen Gallery, Peckham

Rochat’s cutting-edge work has completely overtaken the gallery. Transparencies hang from the ceiling and the windows have been pasted over with digital prints on transparent vinyl, which gives a slightly psychedelic, stained-glass effect. Although Rochat trained in photography her textured work could easily be mis-interpreted as a completely different medium such as painting. She explains that, "there are no rules in my process," and her work could definitely be described as experimental.

A Review of Nocturnal Animals, Directed by Tom Ford

Nocturnal Animals has been heralded over the past year as a masterpiece and seen Tom Ford dubbed a latter-day Hitchcock. The film is entertaining, and features some fine acting and a good script, but I found the direction lacklustre – and left the cinema unmoved and wishing I’d seen this made by a more daring pair of hands, like say Lynne Ramsay. 

A Review of Feminist Avant-Garde of the 1970's at The Photographer's Gallery, London

Feminist Avant-Garde of the 1970s brings together works by no less than 48 artists from the collection of Austrian renewable-energy giants Verbund - exhibited in Britain for the first time. It features film, performance, collage and photographic works arranged thematically across two floors of the expansive West-End space. Taking its title from the curator-coined term, the show offers what is then an extensive look at the work of these groundbreaking artists.