Posts in Art Four
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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A Review of Jonathan Chapline: Material Memory at The Hole, New York

Material Memory, Jonathan Chapline’s first solo exhibition at The Hole in New York, is a neon noir pastiche of Impressionist and Modernist compositions. Among his array of influences, Chapline looks to the abbreviated still lifes and bathers of Paul Cézanne and the paper cut outs of Henri Matisse’s Blue Nude series...

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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 Petra Cortright: Pale Coil Cold Angel at Nahmad Projects, London

American artist Petra Cortright is sailing the wind of technology - her's is art of the post-internet age. She creates work, which explores society’s relationship with technology as approached from an artistic starting point. Pale Coil Cold Angel at Nahmad Projects delves deeper into the idea of creating work via new technologies.

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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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