17-18 Golden Square, London W1F 9JJ
T +44 (0)20 7494 1550 ~ F +44 (0)20 7287 3733
Published in Financial Times, February 2015
Cornelia Parker has thought long and hard about what it means to be an artist in the 21st century. She knows that our world is in acute physical peril. She also knows that, for millions, global warming is the least of their worries. She has interviewed Noam Chomsky about environmental catastrophe but she has also listened to Palestinian Muslims talking about what it means to have the ground stolen from beneath their feet.
Published in The Guardian, February 2015
From rural South Africa to Amsterdam sex clubs via Amy Winehouse and Bin Laden, the painter’s thrilling retrospective captures the paradoxes and ambiguities of both painting and life
Published in Vogue, February 2015
Artist Marlene Dumas’s emotive and haunting portraits command dizzying prices at auction - but beneath her provocative themes there lies a laconic wit. “Nothing is funnier than unhappiness,” she told Susie Rushton for the February 2015 issue of Vogue.
Published in The Observer, January 2015
“I have never fitted neatly into the arts section, I don’t think,” Cornelia Parker says, with the briefly explosive laugh that punctuates most of her efforts at self-analysis. “I’ve always wanted to kind of trespass elsewhere as much as possible.”
Published in San Antonio Express-News, November 2014
Riddy’s photographs — cobblestone street scenes and alleys with parked compact cars, boats on the beach, a park with a gnarly 100-year-old tree near the marina — have extraordinary focus and depth of field that creates a gritty texture, a sheer density of detail, that requires prolonged study. It’s easy to fall into one of Riddy’s images.
Published in Blouin Artinfo, November 2014
Published in Irish Examiner, November 2014
The show, Trove, is the result of Cross being let play the magpie among the collections of several national cultural institutions: the National Museum, the Natural History Museum, the National Gallery, the Crawford Gallery in Cork and IMMA itself.
“That idea of vulnerability is one thing I am very interested in and which has come through in this,” she continues. “The fact that these museums maintain things that otherwise would have been lost or maybe found in your attic, that is very important. But what we usually see is perfection, in a museum, something conserved to perfection. We don’t normally see any cracks. But I was very keen to show that.”
Published in Artforum, November 2014
Nicknames, for the most part, arise from familiarity, even intimacy. As such, the pet name “Nellie,” which gives the title to a 2013 video by Fiona Tan, is a wry foil to the work’s flaxen-haired cipher of a subject. Loosely based on Rembrandt’s illegitimate daughter Cornelia van Rijn, Tan’s preteen protagonist remains unknowable throughout the video, her inner life anyone’s best guess, as she poses her way through a sequence of successive indoor vignettes, pale-skinned and beatific, her gown a blue-and-white patterned chintz.
Published in Connacht Tribune, October 2014
Her work is beautiful, surreal and often challenging but nothing is done to shock or be grotesque, she says. In person, she is warm and quirky and that’s reflected in the art, where there’s a sense of mischief and gentle humour.
“There has to be,” says Cork-born Dorothy who lives just outside Tully Cross in Connemara, with seas, mountains and islands on her doorstep.
Published in Deutsche Bank ArtMag, October 2014
She is one of the most important photographers worldwide. Again and again, Dayanita Singh calls the conventions of her medium into question. Now, the MMK in Frankfurt presents a major show of the Indian artist’s work, which an entire floor in the Deutsche Bank Towers is dedicated to. Singh’s work is also included in the exhibition “Time Present” currently touring through Asia, which brings together international photo works from the Deutsche Bank Collection.
© Copyright 2015 Frith Street Gallery