Frith Street Gallery

Golden Square

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

  • Polly Apfelbaum Review ~ Aurelie Cavanna

    Published in Art Press, July 2017

  • 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 Exhibitions: Tell it Slant

  • VIDEO: Polly Apfelbaum Brings Roman Chic to London

    Published in Blouin Artinfo, November 2014

  • Polly Apfelbaum Gets up off the Floor ~ Scott Indrisek

    Published in Modern Painters, June 2014

    “I like it because it’s not normal,” said Polly Apfelbaum of her exhibition “A Handweaver’s Pattern Book,” at Clifton Benevento through August 8. While the pieces in the show are made using fairly simple materials — markers, string, ceramics, and textiles — the artist has conceived of her installation as a hybrid of forms: a drawing; a painting; a book whose pages have been removed and hung on the walls. The exhibition is composed of 50 ink-on-rayon works, arranged in rows, and a series of glazed ceramic beads suspended from colored strings that hang from the existing sprinkler pipes on Clifton Benevento’s ceiling.

  • Polly Apfelbaum’s, ‘Colours Stations Portland’ at the Lumber Room ~ John Motley

    Published in The Oregonian , 7 April 2014

    Polly Apfelbaum, who lives and works in New York City, is best known for her ambitious installations, in which hundreds of hand-dyed swatches of velvet fabric creep and spiral in hive-like formations on the floor. Existing somewhere between painting and sculpture (the artist describes them as “fallen paintings”), these hybridized installations buzz with vibrant color combinations and complex patterns, even though they are made with minimal means. For her installation at the Lumber Room, “Color Stations Portland,” the artist continues to pursue that minimalist aesthetic, muting the hand-crafted quality of her dyed velvet installations and considering the optic effects and meanings of pure color in isolation.

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