Frith Street Gallery

Golden Square

17-18 Golden Square, London W1F 9JJ
T +44 (0)20 7494 1550 ~ F +44 (0)20 7287 3733


  • London Round-up: Anna Barriball at Frith Street Gallery

    Published in Art Monthly, May 2016 ( No. 396 28-29 )

    In 1970 Robert Motherwell wrote that, in the humanism of abstraction, ‘you don’t have to paint a figure in order to express human feelings…states of feeling, when generalised, become questions of light, colour, weight, solidity, airiness, lyricism, sombreness, heaviness, strength’. His words have their echo in the robust and intense, quietly disclosive drawings of Anna Barriball at Frith Street Gallery.

    Related artists: Anna Barriball
    Related Exhibitions:

  • Atop the Met, a Haunting House ~ Roberta Smith

    Published in The New York Times, April 2016

    “Transitional Object (PsychoBarn)” is more forthright, and accepts gravity. It is a classic haunted house known not only from “Psycho” but from American horror movies in general, as well as the deliciously macabre Charles Addams cartoons. It can startle, whether you see it on the Met’s roof or spy it from a Central Park walkway. The park view may be the more disturbing. Instead of simple Surrealist displacement, the structure seems more truly like an apparition, a ghostly reminder of 19th-century America’s once-thriving towns and small cities.

    Related artists: Cornelia Parker

  • Cornelia Parker’s New Rooftop Show Will Launch a Thousand Date Nights ~ Leslie Camhi

    Published in Vogue, April 2016

    Framed by spectacular views of Fifth Avenue apartment buildings, midtown skyscrapers, and Central Park (the latter sculpted by Frederick Law Olmsted), the work opens a dialogue between urban and rural, artifice and nature, old and new, in an ever-shifting city where the ramshackle increasingly gives way to whatever is shiny and modern. It also evokes the storied legacy of New York City rooftops—dotted with water towers, penthouses, mechanical sheds, and gardens—as places where the imagination takes flight.

    Related artists: Cornelia Parker

  • ‘Tell it Slant’ at Frith Street’s Soho Square ~ Emily Watkins

    Published in Plinth, March 2016

    Bockelt’s work is a fitting avenue for discussion of the exhibition as a whole. Abstraction, we learn, is often very highly stylised – it is frequently anything but random, and there are frequent nods to mathematics and physics. Waves, geometry, symmetry and tessellation can read cold when represented visually, but become imbued with a new significance when the logic behind their creation is laid bare. Massimo Bartolini’s piece, ‘Untitled (airplane)’ was another favourite, and also illustrates the potential for harmony, rather than tension, between our conflicting desires for order and freedom.

    Related artists: Massimo Bartolini
    Related Exhibitions:

  • The Buck Stopped Here: Tell it Slant at Frith Street Gallery, Soho Square ~ Louisa Buck

    Published in The Art Newspaper, February 2016

    Yet again proof positive that artists make some of the best curators, with Jeff McMillan’s small but perfectly selected exhibition of works by an eclectic span of artists that riffs on the richness and scope of the abstract drawing. Or, indeed, of drawing in general—with many materials and means of production here extending way beyond a line on paper.

    Related artists: Polly Apfelbaum
    Related Exhibitions:

  • Thomas Schütte Is Building a Private Museum Dedicated to His Own Artwork ~ Henri Neuendorf

    Published in ArtNet News, February 2016

    “The museum is only for sculptures. We won’t be drilling hundreds of holes into the walls and hanging pictures here,” Schütte told Deutschlandfunk. “What’s missing is a large exhibition space for sculpture; there’s lots of spaces here in Hombroich, but they’re only white cubes. Pictures, photos, video—that doesn’t really interest me. This space is meant for sculptures.”

    Related artists: Thomas Schütte

  • How the Book Has Become a Museum Piece—for Its Own Good ~ S Prasannarajan

    Published in Open Magazine: Voices, February 2016

    I am in Dayanita Singh’s Museum of Chance. And what I chance upon first, before I see the walls and read them, is a book. Or, is it one? It has the appearance of a usual coffee table. On the cover is the mournful ‘faces’ of a calf, a frozen sculpture, a suspended animation. What you miss—sorry, what you do not miss—is a name. No title, no author name, to prepare you for the journey, and sometimes, it is pure bliss not to be hooked. Turn the pages and you are inside Dayanita Singh’s Museum of Chance, published by Steidl, and there are no words to distract you in the rustle of pages, only the randomness of black and white, held together by the viewer/ reader’s sensory powers.

    Related artists: Dayanita Singh

  • Dorothy Cross: Eye of Shark at Frith Street Gallery ~ Sean Ashton

    Published in Art Review, January 2016 ( January & February 2016 146 )

    Twelve dilapidated cast-iron bathtubs arranged in a four-by-three grid line the gallery floor. Above them, set into the wall at head height, is a marble recess containing a small sealed box. Inside, we’re told, is a shark’s eye. As with religious reliquaries, we take the truth of the hidden contents on trust, but the votive suggestion is enough to give the glazed aperture the character of an eye watching over its cracked and corroded disciples.

    Related artists: Dorothy Cross

  • Dayanita Singh: At Home in Her Meta-Museum ~ Somak Ghoshal

    Published in Open The Magazine, December 2015

    In the late afternoon winter light, Dayanita Singh’s ‘Museum Bhavan’, made up of her collection of nine ‘mobile museums’, looks solemn and spectral. Thin, white textiles cover some of these structures, which occupy most of the living room of her south Delhi home. In the coming few days, these cabinet-like contraptions will shift to Kiran Nadar Museum of Art (KNMA) in Saket, New Delhi, and stay there for the next six months.

    Related artists: Dayanita Singh

  • The Buck Stopped Here: Dorothy Cross’s shark tales ~ Louisa Buck

    Published in The Art Newspaper, December 2015

    From her vantage point on Ireland’s wild west Connemara coast, Dorothy Cross conjures up magical, ritualistic works that dissolve the boundaries between nature, culture, religion and superstition to haunting and memorable effect. Rows of rusting iron baths fill part of the gallery with what looks like an ancient burial site, each with a careful band of gilding replacing the accumulated residue of scummy watermarks.

    Related artists: Dorothy Cross
    Related Exhibitions:

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