Frith Street Gallery

Golden Square

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

Press from 2011

  • Anna Barriball: Milton Keynes Gallery ~ Cherry Smith

    Published in Art Monthly, December 2011

    Most of Barriball’s pieces in this thoughtfully installed show work on a poetic, conceptual level that, like the slow shadow photographs of Uta Barth or the charcoal night sky drawings by Vija Celmins, reward long looking. In a superb diptych called Shutters II, 2011, she has taken a graphite rubbing of two arched shutters. There is a terrifi c play of shade, shading and shadow, as the work moves from the shutters’ purpose of darkening a room to the act of blackening the page through shading…..Simple and striking, Light drawing, 2000, meets the challenge artists have faced for centuries: how to draw light. Barriball has coloured every inch of the metal surface of an angle-poise lamp with yellow marker pen and then drawn a circle of tungsten yellow on a card on the wall as if the yellow is pouring itself onto the lit surface.

    Related artists: Anna Barriball

  • Anna Barriball ~ Sophy Rickett

    Published in Photomonitor, December, 2011

    As with her work in other media, with photography Barriball works with the objects and architecture that surround her, appropriating what already exists, breathing life into something that was already there.

    http://www.photomonitor.co.uk/2011/12/anna-barriball-reviewed-by-sophy-rickett/

    Related artists: Anna Barriball

  • An Insomniac’s Guide to Photography ~ Anindita Ghose

    Published in livemint, December 2011

    Photographer Dayanita Singh’s book House of Love is this vivid dreamscape; a book of film stills that have yet to leave the dark room. She plays visualizer to a Proustian narrative, to the slow-motion descriptions of an insomniac who is unable to sleep in an unfamiliar hotel room in a town he doesn’t know too well.
    One of the most significant photographers of our generation, Singh’s work has let go of context and captions over time. She has charted a different route, one that is less about capturing the moment and more about reflection. While she has shown herself to be a visual poet with her previous photo-books such as Go Away Closer (2007) and Dream Villa (2010), with this she takes on prose.

    http://www.livemint.com/2011/12/01201658/An-insomniac8217s-guide-to.html?h=B

    Related artists: Dayanita Singh

  • Creation Inspired by the Cry of Dereliction ~ Jonathan Evens

    Published in The Church Times, 4th November 2011

    Dumas’s work is both bold and fragile, brash and delicate; passages of cool minimalism — blank spaces and unpainted charcoal lines — combine with the textured gestural brushstrokes of vigorous expression­ism: a stylistic both/and that comple­ments her imagistic exploration of the reality of paradox.

    http://www.churchtimes.co.uk/content.asp?id=120059

    Related artists: Marlene Dumas
    Related Exhibitions:

  • London 2012 Olympic posters bring best out of BritArt ~ Jonathan Jones

    Published in The Guardian, November, 2011

    The most introspective, serious and moving of all these posters has to be Fiona Banner’s design for the Paralympics, a painted prose poem about the wonder of human, or superhuman, achievement.

    http://www.guardian.co.uk/sport/2011/nov/04/london-2012-olympic-posters-britart

    Related artists: Fiona Banner

  • Marlene Dumas: Forsaken ~ Ossian Ward

    Published in Time Out, November, 2011

    A powerful show of paintings, ‘Forsaken’ pits Jesus against Phil Spector, Amy Winehouse and Osama bin Laden. Ossian Ward enters an arena of doubt and talks to the artist Marlene Dumas

    http://www.timeout.com/london/art/event/240057/marlene-dumas-forsaken

    Related artists: Marlene Dumas
    Related Exhibitions:

  • CELLULOID HERO ~ Emily Eakin

    Published in The New Yorker, October, 2011

    The enormous projection screen, known as the Monolith, was placed directly in front of the east wall, and when the Turbine Hall grid appeared on screen, it was as if the wall itself with pulsing with life. Triangles, circles, a grasshopper, red berries, a pink flower, a toe, Mount Analogue, a flickering light bulb—images succeeded one another on the grid, in richly colored syncopation. “FILM” was spectacular but not imposing, its silent procession of images odd and intimate.

    http://www.newyorker.com/reporting/2011/10/31/111031fa_fact_eakin

    Related artists: Tacita Dean

  • Exhibition in focus: The Unilever Series, Tacita Dean at Tate Modern ~ Nicholas Cullinan

    Published in The Telegraph, October, 2011

    If film is a medium that seemingly lacks a physical presence or substance, and is instead one which flickers and fades phantasmagorically before us and then persists largely in the memory, then this immateriality is echoed in Dean’s films, capturing that which is fugitive or fleeting – light changing, places or people before they vanish, time passing.

    http://www.telegraph.co.uk/travel/destinations/europe/uk/london/8841556/Exhibition-in-focus-The-Unilever-Series-Tacita-Dean-at-Tate-Modern.html

    Related artists: Tacita Dean

  • Tacita Dean and the quirky art of being English ~ Jonathan Jones

    Published in The Guardian, October, 2011

    Tacita Dean is a very English artist, I thought as I watched black and white waves, a sea of mist, and a fountain flicker in and out of her superb film in the Tate Turbine Hall. The atmosphere of film, as stuff, as celluloid, that it creates made me think of classic English films like Night Mail or Fires Were Started. Also, of the first work I ever saw by Dean.

    http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2011/oct/19/tacita-dean-art-english

    Related artists: Tacita Dean

  • Tacita Dean, FILM, Tate Modern ~ Sarah Kent

    Published in The Arts Desk, October, 2011

    Some images, such as a fountain, tree or sunlight filtering through leaves, fill the entire screen and, since the film is silent, such moments assume an almost religious intensity. Tate Modern has often been referred to as a cathedral of culture and, in this context, the east window assumes the significance of the east window of an actual cathedral; in some shots, a cathedral window even replaces parts of the industrial structure.

    http://www.theartsdesk.com/visual-arts/tacita-dean-film-tate-modern

    Related artists: Tacita Dean

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