|Patrick Caulfield: Dining Recess, 1972|
Lie down, take it easy in the August heat... and contemplate some generally quiet stuff, even in the case of sound art. Plenty of grey, starting with the Caulfield above (from the outstanding show at Tate Britain to 1 Sept), in which the moon of light seems to have paradoxically little wider influence. If you want noisy, by the way, I commend Emma Hart at Camden Arts Centre.
Susan Hefuna: Rasm – of Wood, Silver and Gold @ Rose Issa Projects, 82 Great Portland St – Fitzrovia
|Life and Nothing Else|
|Ian Baxter&: 'Rebecca's Flat' (detail)|
|Rolf Julius: Stones|
|Installation view with 'Weeds'|
|Durham and Birmingham|
|Clare Twomey: 'Temporary' (detail)|
|Adam McEwan: Simeon Stylites|
Sign of a good thematic group show: I didn't wonder who (Brice Marden?) was missing, but appreciated what here: painting processes made visible in Richter, Oehlen and Wool, and excitingly close to eclipsed in Agnes Martin; a sarcophagally horizontal Richard Prince car hood; David Hammons' drawing (made by bouncing a basketball) spectacularly poised on a 300 kg boulder; a rarely seen 1965 Vija Celmins sculpture of her childhood house aflame. And they all provide a chance to muse on the in-between non-colour, grey. Adam McEwen is probably the least-shown this side of the Atlantic (even though he's British), but his gleaming graphite basement doors are another stand-out.
Marguerite Horner: Through each Today @ The Crypt, St Marylebone Church, Marylebone Rd – Baker Street
To 30 Aug: www.contemporarybritishpainting.com/wordpress
|Edward Clydesdale Thomson: The Distracted Gardener|
To 12 Sept: www.paradiserow.com
|Franz West: Untitled, from the series, Transfigured Past, 2009|
Far from a summer throwaway, this is Fred Mann’s best show since he moved west, a collaboration with Kenny Schachter which brings a stellar cast to mostly indirect uses of collage: the keystone is one of Franz West’s last paintings; Vito Acconci gets suitably naked- sweaty for the current heatwave; Rachel Harrison goes in surprising directions, while Mary Heilmann doesn’t - and it works for them both. The less famed Dan Coombs hand-wafts nudes as he photocopies them as the basis for paintings one step beyond Picasso in arriving at the uncomfortable border between expressive freedom and violent imposition as he reshapes woman to his whim – but aren’t the uncomfortable borders where art ought to be?