|Lines in Space No. 44, 1964|
To 8 Dec (film event 29 Nov): www.englandgallery.com
It’s good to see that Jane England has moved her gallery from Notting Hill into the thick of the Fitrovian action – and equally good to see her put on a wide-ranging 30-item show of Marjorie Watson-Williams (or Paule Vézelay as she styled herself on moving to Paris in the 1930’s, more appropriately to her continentally surreal tendencies). These included two of her rather rarely-seen thread and wire in box constructions of ‘Lines in Space’, which bring an original poise to the apparent influences of her lover (from 1929-32) André Masson and friend Hans Arp.
|The Passage of the Bride, 1998-99|
|Sydney Webster Fish on a dark bay|
To 14 Dec: www.richard-green.com
The Richard Green galleries either side of New Bond Street are well worth visiting before Christmas. On the eastern side is a representative and high quality selection of Nicholson, Moore and Hepworth, including a couple of 1930s geometric gouaches from Nicholson which blaze more brightly than his contemporaneous oils. On the west is an extensive survey of Alfred Munnings (1878-1959), often seen as the best painter of horses since Stubbs - Brian Sewell is a fan - yet also dismissed as reactionary and formulaic. I’d say there’s a dash of radicalism and plenty of flair in, for instance. what might have been routine commissioned portraits of rich Americans on horseback. Witness the energy of the dogs and flushed sky-echoing flanks of the horse above.
|Lothar Götz: Untitled|
Lothar Götz: The Line of Beauty + Special Guests @ DomoBaal, 3 John St - Holborn
To 22 Dec: www.domobaal.com
This is four shows in one, and they’re all good! ‘The Line of Beauty’ itself is what he German artist is known for: a space-sensitive colour-geometric wall painting covering a special room; the guests – in the adjoining room - are artists associated with or admired by Götz, whose works are shown alongside objects from his personal collection of ceramics; aspects of those 14 guest items are echoed in 14 drawings hung against The Line of Beauty, allowing for a diverting game of match-across. Enough? No, the larger room also contains Götz’s new stream of stand-alone paintings – five shimmering accumulations of line, the secret of which is the layers of metallic pencil beneath the paint.
Dr Lakra @ Kate MacGarry, 27 Old Nichol St - Shoreditch
To 15 Dec: www.katemacgarry.com
|Untitled (Junk Painting) 2012|
Keith Coventry: Junk Paintings : Pace,6-10 Lexington Street - Soho
Berndt Ribbeck @ Alison Jacques, 16-18 Berners St - Fitzrovia
To 20 Dec: www.alisonjacquesgallery.com
This is primarily 'as you were' for the German artist: small, intense paintings which channel the temptation to strive for the spiritual through abstraction, yet but bring that up against the material reality from which they are very visibly made. There's also a harder-edged influence from 20th century religious architecture, which Ribbeck calls 'bastard hybrids of modern rationalism and the spiritual role these buildings were meant to play'. Yet the one main technical difference from his first London solo show in 2009 has more aesthetic impact than you might guess: 'pigmented marker' - felt tip of some sort - has replaced the previously characteristic use of ballpoint pen in building up the scumbled, scratched and smeared surfaces which animate Ribbeck's geometry.
To 30 Dec: www.whitechapelgallery.org
To 12 Jan: www.ibidprojects.com
David Adamo’s most consistent stream of a practice typically themed around removal - of material and / or functionality - sees him chop away at wooden objects until what they were is in visible tension with what they have become. The latest phase is here, but this hugely inventive show spread across three floors has much more: erasers made from clay which were then used to attempt a rubbing out, so shaping the clay appropriately; a shuttlecock made functionless through an amazingly filigree rendition in bronze; silent metronomes; an equally useless wooden bicycle frame; miniaturised radiators; and tiny wooden birds cute enough (sorry!) to tread on by mistake.
|Juliette Losq: The Ploutonion|