Posts in Art Four
A Review of Tristano di Robilant: Youth at Tristan Hoare, London

In an essay on the poet Enrique Lihn’s In the dark room, the writer Alejandro Zambra says: ‘childhood is, then, a time in the service of ghosts, a place to put images that, seen from the present, form a kind of foundation. A difficult foundation, of course, unsteady: the darkroom is where photographs are developed, where images appear, for the first time fixed on paper, that both authorise and destroy identity’.

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A Review of Tracey Emin: A Fortnight of Tears at White Cube, London

White Cube is showing a ‘Fortnight of Tears’ by Tracey Emin – showing sculpture, neon, film, photography and drawings focusing on the artist’s trauma. A radical departure from previous shows, it deals with the artist’s womanhood, sex, loss, bereavement and renewal through a range of newly developed mediums.

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A Review of Diane Arbus: In the Beginning at Hayward Gallery, London

With some of the most recognisable photographs in existence, Diane Arbus (1923–1971), made her mark in New York and the art world forever with her singular method of portraiture. The latest show to honour her work was organised by The Metropolitan Museum of Art, New York and adapted for Hayward Gallery.

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A Review of the BMW Tate Live Exhibition 2019: 'Anne Imhof: Sex' at Tate Modern, London

Anne Imhof's third solo exhibition, Sex, a highly anticipated followup to both Angst (2016) and Faust (2017) was unsurprisingly in keeping with the artists known aesthetic and mimicked the uneasy atmosphere of both her previous endurance performances. Elevated platforms, serpentine movements, dead-eyed stares, smoke and the odd bit of fire connect all three of Imhofs performances to date.

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A Review of Geta Brătescu: The Power of the Line at Hauser & Wirth, London

Hauser & Wirth homages Geta Brătescu in its latest exhibition, The Power of the Line. It explores the constantly evolving use of the line in the artist’s most recent works. The show was organised in close collaboration with the artist and Marian Ivan and Diana Ursan of Ivan Gallery, resulting in a highly introspective display.

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A Review of Bill Viola at the Royal Academy of Arts, London

Though the curators of the RA’s Michelangelo / Bill Viola exhibition, Live Death Rebirth, frame the show as a ‘conversation’, it unavoidably sets the two artists up for conflict – one that Viola seems fated to lose. Clearly aware of this temptation, the show’s Introduction over justifies; ‘it is [their] commonality, rather than a suggestion that Viola is a “modern Michelangelo” that the exhibition illuminates’.

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A Review of Walter de Maria: Idea to Action to Object at Gagosian, Grosvenor Hill, London

An intriguing insight into the workings behind the subliminal sculptures of late artist Walter de Maria, Gagosian’s new exhibition ‘Idea to Action to Object’ presents over forty works on paper and several related sculptures, which are on view for the first time.

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A Review of Victor Vasarely: Sharing Forms at Centre Pompidou, Paris

Hungarian-French artist Victor Vasarely embodies much of Paris and its architecture at golden hour; the shapes, abstraction and energy. Sharing Forms is the first major retrospective devoted to Victor Vasarely. In true Parisian style, this elegantly curated exhibition continued to allure and deceive with its colourful inversions of the avant-garde.

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A Review of Henry Hudson at Hannah Barry Gallery, London

Gone are the days of Hudson’s ultra-bright psychotropic jungle scenes; instead we are treated to pastel-coloured ski slopes with a custom Scagliola floor to match. The exhibition is performative, energising and entirely aesthetic yet, despite all of the niceties, there is an underlying sense of foreboding.

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A Review of Tom Wesselmann at Almine Rech Gallery, London

Almine Rech Gallery presents a provocative, uplifting survey of work made in the final years of Tom Wesselmann’s life. Large-scale Sunset Nudes (2002–4), are paired with painted aluminium wall assemblages dating from the same period, their maquettes on public display here for the first time.

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An Interview with Indre Serpytyte-Roberts at her Studio in Marylebone, London

Indre previously stated that, “you have to be honest on what touches you and what you believe in” and this perfectly captures her sincere approach. Across mediums such as photography, sculpture and textiles, she finds beauty in sombre themes such as memory, trauma and loss. Her work has been met with critical acclaim in publications such as the New York Times, Artnet and Wallpaper.

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A Review of True Colours at Newport Street Gallery, London

Emerging artists Boo Saville, Helen Beard and Sadie Laska have adorned the infinite white walls of Newport Street Gallery with their playful, but progressive explorations of colour. And what an impact these evocative paintings make. Upon entering the gallery, you are met by force with a provocative series of Helen Beard’s paintings.

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A Review of Rio Azul by Beatriz Milhazes at White Cube Bermondsey, London

A sun-drenched Sunday afternoon in Bermondsey was the perfect setting to see White Cube’s new show, a large-scale exhibition of works by prominent Brazilian artist Beatriz Milhazes. Entering the stark white space, I felt almost as if I had been transported away to the exotic climes of Brazil - as if when I exited the glass doors I would step out onto the Copacabana. 

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A Review of Eddie Peake at South Gallery White Cube Bermondsey, London

Once an exhibition cautions against nudity it feels more like a promise than a warning, but now that we are more difficult to shock, it seems that nudity needs a sense of purpose or joviality. Said warning appears upon entry to the South Gallery of White Cube Bermondsey and in light of Eddie Peake’s previous installations like Touch 2012, I imagined I would be in luck.

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