Abstract Critical

Abstract Art on This Summer

Written by Sam Cornish

Robert Irwin, Who's Afraid of Red, Yellow & Blue³ III © 2012 Robert Irwin. Photograph © 2013 Philipp Stolz Rittermann

Robert Irwin, Who’s Afraid of Red, Yellow & Blue³ III © 2012 Robert Irwin. Photograph © 2013 Philipp Stolz Rittermann

At Pace Gallery until the 17th of August are two ‘site-conditioned’ installations by veteran ‘Light and Sound’ artist Robert Irwin. As the press-release has it: “Who’s Afraid of Red, Yellow & Blue³ III  expands upon a dialogue with perception that has pervaded Irwin’s practice for nearly half a century and continues references to the mid-century abstraction of the painted canvases of Josef Albers and Barnet Newman.” If you’re quick you can see paintings by Albers just down the road in a group show at Waddington Custot until the 2nd.

David Whitaker, Fata Morgana in Search of Moby Dick, 1976, oil on canvas, 211 x 243 cm

David Whitaker, Fata Morgana in Search of Moby Dick, 1976, oil on canvas, 211 x 243 cm

At Rebecca Hossack until the 9th of September is the second part of a retrospective of British ‘Op’ painter David Whitaker (1938-2007).

Helen Baker, photograph: Colin Davison

Helen Baker, photograph: Colin Davison

Helen Baker has a solo exhibition of paintings at Customs House Gallery, South Shields until the 13th of September.

Untitled (Figure), Yelena Popova, 2013, Paper Size: W45.5 x H66cm. Edition: 100. 5 colour // Glaze screenprint // Printed with pearlescent inks on high quality archival art paper

Untitled (Figure), Yelena Popova, 2013,
Paper Size: W45.5 x H66cm. Edition: 100. 5 colour // Glaze screenprint // Printed with pearlescent inks on high quality archival art paper

Yelena Popova has a show of paintings and prints ‘Lobachevsky’s Dream’ on at Bureau Gallery, Manchester, until the 30th of August.

Graham Boyd, After Dark, acrylic on canvas, 91 x 122cm

Graham Boyd, After Dark, acrylic on canvas, 91 x 122cm

Graham Boyd: Conversing in Colour is at Artistsmeet, Rickmansworth until the 7th of September.

Installation view, Donald Judd, David Zwirner, London, 2013. Art © Judd Foundation. Licensed by VAGA, New York, NY. Courtesy of David Zwirner, New York/London. Photo © 2013 Alex Delfanne.

Installation view, Donald Judd, David Zwirner, London, 2013. Art © Judd Foundation. Licensed by VAGA, New York, NY. Courtesy of David Zwirner, New York/London. Photo © 2013 Alex Delfanne.

David Zwirner have extended their exhibition of Donald Judd until the 19th of September. Sadie Coles have an exhibition of work by Carl Andre on until the 24th of August. Our review of both exhibitions is here.

Installation view, A Tri Lick, PEER

Installation view, A Tri Lick, PEER

In sharp contrast to the refined minimalism spreading over the West End, at PEER, Hoxton until the 14th of September is an exhibition of work by Caroline Achaintre, Sarah Bowker-Jones and George Young. The press-release states: “all three have produced new work and have been engaged in the selection and installation as well as the titling of the show. This collective engagement has revealed a number of common interests, particularly a shared inquisitiveness about image and object making through the languages of sculpture and painting.”

Robert Motherwell, Australia II, 1983, acrylic on paper collage on board laid on board, 120.7 x 81.3 cms (47 1/2 x 32  ins) RM13368

Robert Motherwell, Australia II, 1983, acrylic on paper collage on board laid on board, 120.7 x 81.3 cms (47 1/2 x 32 ins) RM13368

Robert Motherwell: Collage is on at Bernard Jacobson until the 30th of August. You can read our review here.

Sarah Morris, 'Bye Bye Brazil', White Cube Bermondsey 17 July - 29 September, 2013, © Sarah Morris Photo: Ben Westoby Courtesy White Cube

Sarah Morris, ‘Bye Bye Brazil’, White Cube Bermondsey, 17 July – 29 September, 2013, © Sarah Morris Photo: Ben Westoby, Courtesy White Cube

Sarah Morris: Bye Bye Brazil is on at White Cube, Bermondsey until the 29th of September. Our review is here.

Yantra, (1973-74), by Eduardo Paolozzi Private collection Courtesy Neville Holt and Eduardo Paolozzi Foundation ©

Eduardo Paolozzi, Yantra, (1973-74), Private collection, Courtesy Neville Holt and Eduardo Paolozzi Foundation ©

On at Cass Sculpture until the 26th of October is Eduardo Paolozzi: Sculpting History. The press-release describes Yantra, pictured above, like so:  “a large-scale work composed of 3 main structural components each measuring over 200 cm in length and height. Originally commissioned by Sir Terence Conran for the Habitat playground in Wallingford, one of the main artistic intentions for this work was the encouragement of both individual and collective interactivity with sculpture. The work was originally created as part of a group of 4 other sculptures; ‘Kalasan’, ‘Manuk’, ‘Suwasa’ and ‘Trishula’. These works, dating from the mid to late 1970’s encompassed Paolozzi’s move away from coloured and patterned abstract forms and towards a direction influenced by geometric shapes and patterns and the use of alternative materials such as aluminium and steel.” Nearby at Pallant House, Chichester, is Eduardo Paolozzi: Collaging Culture (until the 13th of October) along with Modern British Collage and its Legacy (until the 29th of September).

Thomas Scheibitz, Studio, 2012, Courtesy the artist, Sprüth Magers Berlin London and Tanya Bonakdar Gallery, New York. Photo: Jens Ziehe. © VG Bild-Kunst, Bonn, 2013 for Thomas Scheibitz

Thomas Scheibitz, Studio, 2012, Courtesy the artist, Sprüth Magers Berlin London and Tanya Bonakdar Gallery, New York. Photo: Jens Ziehe. © VG Bild-Kunst, Bonn, 2013 for Thomas Scheibitz

An artist who seems to me to have a slight kinship with some of aspects of Paolozzi (though more obviously channels Jules Helion and Picasso), Thomas Scheibitz has a large solo exhibition of recent work at Baltic Centre for Contemporary Art, Gateshead, on until the 3rd of November. The exhibition will be reviewed on abstract critical.

Lun Tuchnowski: Shifting Identities, installation view, courtesy Annely Juda Fine Art

Lun Tuchnowski: Shifting Identities, installation view, courtesy Annely Juda Fine Art

 Lun Tuchnowski’s over-sized sculptures are on at Annely Juda until the 30th of August.

Elsewhere: The Instability of the Image at Paradise Row includes paintings by Gabriel Hartley; Overt Exchange (the first of a three part exhibition curated by Claire Undy) includes work by Sophia Starling and Yelena Popova, and is on at APT Gallery, Deptford, until the 25th of August; In-Between at Skarstedt Gallery London features expensive grey paintings by Vija Celmins, Günther Förg, David Hammons, Agnes Martin, Adam McEwen, Albert Oehlen, Richard Prince, Gerhard Richter and Christopher Wool until the 31st of August; Andreas Schulze: Looking and Listening is on at Sprueth Magers London until the 18th of August; & The Writing is on the Wall is on at Jonathan Viner, Margate, until the 21st of September.

 

 

 

  1. Patrick Jones said…

    I am about to host the Annual Open Studio at Coombe Farm in East Devon on the weekends of the 24th and 31st August.The link is to my website PatrickJonesAbstractArtist.com At RAMM in Exeter there is a terrific Gillian Ayres show.How do I post photos of each?

  2. Pete Hoida said…

    “an experience of a strange and unfamiliar pleasure” a visit to Graham Boyd to pre-view his forthcoming open studio show – and to the Rickmansworth Artistsmeet exhibition.

    I don’t want to say Charlie’s dead, but here’s those falling leaves again. Nobody likes autumn that much. That’s the worst of it. Because at best Boyd shatters expectations. The collaged bits of canvas from old discards oddly cut, are so well-pressed into the deep saturated bed of acrylic that you’d hardly know that they weren’t spatula’d-on paint. These are in lush colours on interestingly modulated coloured grounds. And when well-placed in contrast to loosely painted only-just-not-bare cotton duck, they sing. The canvas, in the pictures that succeed, presents itself to you as a unity. A unity of that which you didn’t know you’d find beautiful. Or do you? These are the robust questions that Boyd’s paintings pose, confront you with; you can’t move on because you simply don’t know. This is the destruction of suppositions.
    Caroline Hislam and myself played out our usual exhibition visiting exercise of which one would you take. And agreed upon same two works independently. Oddly enough on leaving Graham’s studio he pressed upon us two postcards illustrating the same two paintings. In
    Hibernation 2012 a slightly jagged geometric slice of cake holds the nearside (left) edge. Just a sliver of six inches or so long, an inch wide, is cut from the overall ground of oxide on the edge to the left of this. Graham knows when too much is too much. To the right a bowl shaped line is scraped in the ground and the hollow filled by Hoyland-like palette-knifed dim sky blue; and throughout, indented into the surface, his ill-favoured leaves have become more emphatically object-like incidents of colours. Colours lush and interesting with hints, streaks, and tints of other colours that a hairdresser might have been asked to provide streaked into it, left evident. And I mean this as a compliment. This painting avoids the left/right top/bottom diagonal opposition of incidents that sometimes mar the lesser works. In Prospectus 2012 a peachy (with hints of mango, cherry and exotic fruits) slurred rolled ground is cut into from the top-left by a lemon against grey, a difficult combination to bring off (Heron could do it as well) almost patterned jagged block of thinly applied paint. And to the right a beautiful black on light turquoise brushed expressionistic signature-like emblem (Gottlieb at his best ?) carried out with consummate ease. One could go on to describe the number of elements, each distinctive, and in this painting unapologetically attractive pieces of collaged material. These all serve to bring the ground to the fore with a force equal to that of the applied incidents and elements described, thus constructing an achieved unity that makes a viewing of these works an intellectually stimulating experience. And at the same time an experience of a strange and unfamiliar pleasure.

    hibernation.htmlprospectus.html

  3. John Pollard said…

    Thanks for this round up Sam. Perhaps we could also get more postings about lesser known but relevant exhibitions around the regions?

    • Robin Greenwood said…

      Maybe people around the regions could post them up here in these comments, with a link?

      • Sam said…

        If there were enough I’d be happy to make an updated list which included them…

        Or do you mean postings on the site in general? Am slightly hampered by the location of my contributors, but if you know any ‘regional’ reviewers send the info to the [email protected] address…