Frith Street Gallery

Golden Square

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


  • Artforum Critics’ Pick: John Riddy and James Castle ~ Julia Langbein

    Published in Artforum, October 2015

    In the abstract, it seems merely provocative to pair John Riddy’s recent photographs of South Africa’s Cape Peninsula with drawings by the self-taught American artist James Castle. Riddy is a British photographer of exquisite technical precision, while Castle, deaf and illiterate, worked in almost complete obscurity until his death in 1977, turning found materials such as packing boxes and kitchen twine into sculpture, books, and drawings.

    These pieces share a vocabulary of barns, gables, pilons, and power lines; yet in both, banal subjects viewed dead-on can remain strangely unknowable…Of course, this pairing shatters expectations of photographic objectivity or “outsider” subjectivity, but better yet, the formal enigmas of Riddy’s floating trailers and Castle’s squiggle symbols will find their partners if one looks close enough.

    Related artists: John Riddy
    Related Exhibitions: James Castle / John Riddy: Of Things Placed

  • Fiona Banner mashes up typefaces including Avant Garde and Courier to create a new font ~ Eliza Williams

    Published in Creative Review, September 2015

    Banner has created ‘Font’ to accompany two new exhibitions of her work, at Frith Street Gallery in London and Ikon in Birmingham. The Ikon show, which opens on October 10, is the first major UK survey of Banner’s art, featuring works going back over 25 years.

    Related artists: Fiona Banner
    Related Exhibitions: Fiona Banner: FONT

  • Critics’ choice: Fiona Banner at Frith Street Gallery

    Published in Time Out, September 2015

    Related artists: Fiona Banner
    Related Exhibitions: Fiona Banner: FONT

  • Critics’ Choice: Chen Zhen, Frith Street Gallery, London ~ Jackie Wullschlager

    Published in FT Weekend, July 2015 ( Page 15 )

    Shaping his defining experiences — long-term illness and cultural displacement — into affecting, exquisitely formal works, touched too by a French lyrical inflection, he made a distinctive contribution to the Chinese avant-garde, celebrated here in this rare UK show…In “Crystal Landscape of Inner Body (Serpent)”, delicate, sinuous, blown glass abstractions represent internal organs — some bulbous, some coiled, some rough, some smooth — laid out like a disjointed body on a glass table suggesting a clinical examination bed. They balance sculptural opposites — inside/outside, solid/void — to muse on the relationship between the individual and society, the material and spiritual, beauty and death.

    Related Exhibitions:

  • The mystery of Jonah, the giant whale who toured the UK in the 1950s ~ Becky Barnicoat

    Published in The Guardian, July 2015

    Once Tan read about Jonah the giant whale, she set off on her own journey, delving into natural history museums to find out more. “I am very interested in the idea of collections,” she says. (Her previous works include an imaginary museum curated by Marco Polo, shown at the 2009 Venice Biennale, and a film about John Soanes’s museum full of antiquities in London.) “What is a collection, and what is someone trying to tell me with it?” wonders Tan. “Some are huge – the Netherlands’s natural history museum has 37m specimens.”

    Related artists: Fiona Tan

  • 35mm Marvels ~ David Jager

    Published in NOW Toronto, July 2015

    Tacita Dean dominates the exhibit with JG, her breathtaking meditation on filmic and geologic time. Using dystopian British novelist J.G. Ballard’s short story The Voices Of Time as a starting point, she films Robert Smithson’s iconic land art piece, Spiral Jetty, in Utah’s Great Salt Lake…Somehow, in 26 minutes, she makes notions of eternity and fragile humanity palpable, using the magnificent Utah landscape as a canvas.

    Related artists: Tacita Dean

  • Fiona Tan, photographer: ‘There is a romanticised version of the messy studio’ ~ Karen Wright

    Published in The Independent, July 2015

    “Work has its stages, [including] its embryonic stage. You have to protect it. There is a romanticised version of the studio that it looks messy. Mine looks like an oversized office. There are friends who might leave a coffee ring behind”.

    Related artists: Fiona Tan

  • Fiona Tan interview ~ Freire Barnes

    Published in Time Out, June 2015

    The Amsterdam-based artist known for her immersive film installations talks to Time Out about her two London shows: ‘Inventory’, which takes inspiration from the eclectic Sir John Soane’s Museum, and ‘Ghost Dwellings’, an installation which focuses on natural and economic disasters in Detroit, Cork and Japan.

    Related artists: Fiona Tan
    Related Exhibitions:

  • Artforum Critics’ Pick: Fiona Tan ~ Andrew Witt

    Published in Artforum, May 2015

    Fiona Tan slows down time. Her film Inventory, 2015, tracks through London’s Sir John Soane’s Museum, scanning its eccentric nineteenth-century collection ... Composed from six projections—all taken with different cameras (both digital and analog)—the video peers over the collection as if it were evidence from a wreckage. The faces, objects, and fragments appear ruined, as if dissolved by the vicissitudes of time. “There is no antidote to the opium of time,” the film states in the prologue. Time is like a drug—it both seduces and ruins its subject.

    Related artists: Fiona Tan
    Related Exhibitions:

  • Artforum Critics’ Pick: Bridget Smith ~ Himali Singh Soin

    Published in Artforum, May 2015

    A vacant auditorium is rendered in four cyanotype prints, Blueprint for a Sea, 2015, that utilize light to mimic outlines of waves. At first, the four appear identical; then, a very slight shift in perspective is noticeable. The series thus seems to rise and fall in a rhythm of its own. Five opaline globe lights hang as celestial objects, so that the narrative of the interior washes up against the vastness of outer space. Places become psychological: in this situationist’s dystopia, architecture rid of function is of infinite discontent and infinite desire.

    Related artists: Bridget Smith

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