2023 - Issue 67
Showcasing artists and works that caught my attention.
It’s the hottest week of the year (so far) so let’s kick things off with some cool Nordic vibes in this group exhibition presented in partnership with Cadogan Fine Arts (@cadoganfinearts). I particularly liked the four seasons landscapes painted in 2023 by Ann Simberg (@ann_simberg), but not as much as I liked the rather more drastic etching of The Black Death made by her grandfather Hugo in 1906. There’s also some pretty good work by artists not named Simberg, including a two hundred year old gouache and some recent photography.
‘Nordic Summer Exhibition’ at Fiumano Clase (@fiumanoclase) until 22 Jun
I’ve long been a fan of the visual contrast in the laser cut metal work of Dan Rawlings (@DanRawlings64). His latest series imposes imagery of hope, life and regeneration into rusted hazard warning and petrol station signs. There’s just something so satisfying about the invasive way he cuts images of natural beauty out of the icons of our destructive, fossil fuel dependency.
‘It Went Like This’ at Stolen Space (@stolenspacegallery) until 02 July
Lots of artists have the ability to paint trompe-l'œil and hyper-realistic, but I’m drawn to the ones that do more than just depict. Like silly tennis ball faces by Hamish Chapman (@cheesy.biscuits), or pretty much anything by Thomas Bils (@ThomasBils) who uses his sublime talent to remind us that life needn’t be so serious. Technical skills are meaningless unless you’ve got something to say. If you could realistically paint anything, what would you depict?
‘On Longing (Or, Modern Objects Volume II)’ at Huxley-Parlour Maddox St (@huxleyparlour) until 08 Jul
PS - you can see more works from Thomas Bils in my review from Dec 2021.
Sunburnt skin. Bodies bulging in all the wrong places. Everything’s egalitarian at the beach when all you can do is shake what yer momma gave ya. So it should come as no surprise that Picasso and Cézanne can be found sunbathing next to Peter Doig, Damien Hirst, not one but two David Hockney works and an utterly ridiculous tribute to Baywatch. Like an overpriced bottle of holiday limoncello, many of these paintings are best experienced in the moment, as they’d surely lose their appeal on their own or in your home. As if you could afford any of them.
‘Bathers’ at Saatchi Yates (@saatchiyates) until 10 Aug
I’m continuously in awe of the annual RA Summer Exhibition. The scale and ambition of what it tries to achieve is beyond admirable, but I imagine it must be every curator’s nightmare commission. It’s simply too big, too broad to be able to make everyone happy all of the time. Though it does seem to make all of the critics angry all of the time.
It hasn’t even officially opened yet and I’ve gone twice so that you don’t have to. Erm… I mean… so that you know what you’re in for. But look, here’s the deal: I hope you’re going to go, because this is one annual show that everyone should attend. Regardless of what anyone else thinks, you’ll find something you like. If you can’t, then you’re simply not cut out for art. But while I have your attention, allow me to rant about what I didn’t like.
My take? This year’s selection plays it far too safe. The show’s been neutered: very few knock-out works, and too few of the “WTF?!” things that perpetuate it’s reputation. The highs aren’t so high and the lows aren’t so low, and you can already see plenty of technically proficient mediocrity at nearby group shows for free. Come on RA… for a £22 ticket I expect you to anger and excite me!
‘Summer Exhibition’ at Royal Academy (@royalacademyarts) until 20 Aug
PLUS — don’t forget to check the What’s On page so you don’t miss any other great shows closing soon.