In a playful yet pointed counter to the human-centric view of the world, London-based Italian artist Ludovica Gioscia collaborates with her cat, Arturo. I was pleased to obtain an exclusive interview with him just as they opened a major show at Baert Gallery in Los Angeles.
The annual Trinity Buoy Wharf Drawing Prize exhibition – virtual, of course, this year – includes plenty of drawings directly referencing the locked down circumstances of their making.
The London Art Fair’s online edition runs 18th-31st Jan. As in the physical versions, the best material is fairly evenly split between 20th century British classics and contemporary work – so here are two picks from each category:
Plates are a rather convenient way to display art, somewhere between ceramic – for the most part, though metals are possible – and painting. Ceramics are in vogue anyway, and as functional objects go, plates are easy to display. In ascending order of price, here are three recent initiatives which have stepped up to the plate:
I like it when you can track an artist’s development through their own account…
Clare Price hasn’t followed a conventional path:
For the ‘festival in a box’ – in Director Shoair Mavlain’s words – ‘the artworks travelled to people’s homes, classrooms and community spaces’, so eliminating the reliance on personal travel ‘which itself relies on economic privilege’ and allowing the viewer to ‘become the curator’ by choosing how to hang the work.
It’s not a criticism of the art in ‘Five Hides’ to say that the biggest wow moment is seeing the space, a vast Victorian hall close to Kennington tube station which is hosting its first exhibition. The soaring 800 square metres of Manor Place, which has been left empty over the last decade, has a colourful history.
You can’t put everything on the increasingly central art medium of Instagram, as it’s censored. Specifically, any photographic image of genitals, naked buttocks or bare female breasts are out. The fact that it’s art isn’t held to make any difference, which has caused some annoyance.
The past few years have tended to see Georg Baselitz in fine, adventurous form, at least in the studio (less so in the interview room, where his ludicrous generalisations about female painters have tended to put people off). And you have to hand it to him here: well into his ninth decade, Baselitz has come up with a series of works quite unlike anything he has done before – a whole show of hands, many of them monumental