Abstract Critical

Abstract Art on in February

Michael-Stubbs-Grenade Head 2012 household paint and tinted floor varnish on MDF, 198x198cms

Michael Stubbs, Grenade Head, 2012 household paint and tinted floor varnish on MDF, 198 x 198cm

Opening at the Cass Gallery in London Metropolitan University on the 8th of February is ‘Michael Stubbs: Paintings/Prints/Drawings/Collages’. Stubbs writes ‘Painting is at an interesting crossroads in relation to digital culture and the media – I try to reflect this through the painting’s chaotic visual spaces.’ The exhibition is on until the 2nd of March.

Judith Lauand, ‘Untitled’, oil on canvas, 61 x 50cm, (24 x 19 3/4in)

Judith Lauand, ‘Untitled’, oil on canvas, 61 x 50cm, (24 x 19 3/4in)

At Stephen Friedman from the 8th of February to the 9th of March is ‘Judith Lauand: The 1950s’. As the press release has it: ‘Lauand’s loyalty to Concretism is unmistakeable, and yet the distinct freedom of her approach is also powerfully evident in her extraordinary dialogue with form, space, colour and rhythm. Organic lines and playful geometric elements multiply themselves in convergent, divergent or random directions. Shapes gather or disperse, overlay or create intersecting points that present a pronounced dynamism and desire to experiment.’

Keith Coventry, installation Modern Collections

Keith Coventry, installation Modern Collections

Far from Lauand’s optimism (and perhaps ability), on until the 22nd March at Modern Collections is ‘Keith Coventry: Twentieth Century Estates’. From the press-release: ‘In the 1990s, as the Modernist style of much of the housing came into vogue once again – fodder for architecture buffs and design students – little thought was given to the residents’ day-to-day reality. The ‘Estate Paintings’, employing the visual vocabulary of Malevitch and El Lissitzky, show that the utopian ideals which led to the creation of widespread social housing have their roots in abstraction. In these stark and compelling paintings, Coventry contends that the ultimate failure of the Modernist project was its inability to make real space for human living.’

Alejandro Ospina, Greba Orokorra, 200 x 300 cm, 2012

Alejandro Ospina, Greba Orokorra, 200 x 300 cm, 2012

On until the 3rd of March at Image Music Text Gallery is ‘Alejandro Ospina: Megalopolis’. Ospina says: ‘I try to work in ways that reflect continuous changes in attention at a rate and method that would have seemed absurd before the arrival of the Internet, simulating what happens in our minds when we jump from image to image accumulating and merging layers of visual information. I want the work to reflect how the Internet has mutated the way we look at sets of images or contemplate a stream of information.’

William Gear, Landscape Study,1960, Oil on canvas, 56 x 45.5 cm

William Gear, Landscape Study,1960, Oil on canvas, 56 x 45.5 cm

Other exhibitions include ‘Modern British Abstraction’ at Whitford Fine Art until the 28th of February (see image by William Gear); ‘Modern and Compact Atmosphere’ curated by Tom Owen at Studio 1.1 and on from the 8th of February until the 3rd of March; ‘Eva Hesse: 1965′ at Hauser & Wirth, Savile Row until the 9th of March; ‘Linda Karshan: Lines and Movements’ at The Redfern Gallery until the 7th of March; sculptures by Lewis Teague Wright at The Depot, Clapton from the 7th to the 22nd February; ‘Indian Tantric + Western Contemporary’ at Bartha Contemporary from the 8th February to the 23rd of March; Kurt Schwitters at Bernard Jacobson until the 30th of March and at Tate Britain until the 12th of May; ‘Robert Rauschenberg: Jammers’ at Gagosian Britannia Street from the 16th of February until the 28th of March; ‘Light Show’ at the Hayward until the 28th of April; ‘Carl Andre: Mass and Matter’ is on at Turner Contemporary, Margate until the 6th of May; as is ‘William Scott’ at Tate St Ives.

 

 

 

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