Gideon Rubin, Untitled, 2024 (detail)Installation view Auguries of Innocence, 10th January – 8th February 2025, Cedric Bardawil
Auguries of Innocence is an exhibition of new works by 10 painters just opened at Cedric Bardawil currently working in Britain, and who were all recently featured in the seminal Anomie Review of Contemporary British Painting Volume 3.
Installation view Auguries of Innocence, 10th January – 8th February 2025, Cedric Bardawil
Named after an 1803 poem by William Blake, verses which chime with the pressures and demands of modern life, Auguries of Innocence displays bellwether works that probe the social, political, and artistic conditions of Britain today. Encompassing a range of aesthetic styles, from abstracted landscapes to sumptuously realistic portraits, and including those led by distinctly contemporary narratives to those riffing off the High Renaissance and the fin-de-siecle, the exhibition is a snapshot of the state of play of contemporary painting.
Installation view Auguries of Innocence, 10th January – 8th February 2025, Cedric Bardawil
Artists: Anthony Banks, Sara Berman, Lindsey Bull, Victoria Cantons, Jai Chuhan, Marcus Cope, Jasmir Creed, Yulia Iosilzon, Kathryn Maple, Gideon Rubin.
Installation view Auguries of Innocence, 10th January – 8th February 2025, Cedric Bardawil
Auguries of Innocence, 10th January – 8th February 2025, Cedric Bardawil
Mark Westall has spent over thirty years creating platforms for culture. Since founding FAD Magazine in 2006, he's dedicated his career to documenting, championing and questioning contemporary art through publishing, criticism and conversation. As founder and editorial director of one of the UK's leading independent contemporary art publications, he has interviewed artists, reviewed exhibitions and covered the ideas shaping contemporary visual culture for more than two decades. He also founded Art of Conversation, Despoke and FAD Bazaar, and regularly serves as a judge for international art and photography awards.
Mid-February gathers momentum with a run of openings that move from reconstructed persona and fractured landscape to digital habit, cinematic transformation and painterly return.
