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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.
Published in Artforum Critics' Picks, October 2014
A pitch-black clock, The Ecliptic, 2014, holds pride of place in Raqs Media Collective’s current exhibition, “Corrections to the First Draft of History.” Replacing numbers, one half of the clock bears the word TIME, while on the other half, the words FREE, FOLD, FIGURE, FUN, FIX, and FREEZE alternatingly light up. The alliteration provides rhythm and a sense of repetition but also brings to mind the F-word: future.
Raqs Media Collective
Published in Financial Times, October 2014
A survey of works by the South-African born artist gives reason to why she is perhaps the world’s most interesting figure painter.
Published in The Telegraph, September 2014
But the exhibition’s real show stopper is “Chinook”, Banner’s ambitious revisiting of her ambivalent obsession with military hardware. Suspended inside the vast, hangar-like space of YSP’s Longfield Gallery are two huge pairs of helicopter blades that rotate overhead, gathering speed to a whipping crescendo, before gradually slowing down to near motionlessness and then again beginning to gather momentum in a way that, although appearing to be random, is in fact in a carefully programmed sequence.
Published in The Guardian, September 2014
How do you translate the world into words? What is the relationship between language and sensory experiences? Banner turns such apparently dry philosophical musings into exciting, intense, funny art.
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