George Shaw, from a town without pity…
Keith Haring, Untitled, 1989
Keith Haring, Untitled, 1989
Keith Haring, Untitled, 1989
Keith Haring, Untitled, 1989
Keith Haring, Untitled, 1989
Just when I thought it was safe to leave home without stumbling across another Keith Haring something (I say this with a lot of love), Gladstone commemorates what would have been his 60th birthday with works created during his last years, most of them exhibited here for the first time. Unlike what we imagine when hearing the name ‘Haring,’ these paintings (1987-1989) are serene by comparison, modest in scale, and have a very ‘personal’ aura about them. The works collage appropriated images from Herb Ritts’ M/W twin-book publication from 1989.
Richard Prince, Untitled, 2017
Richard Prince, Untitled, 2017
Richard Prince, Untitled, 2017
Richard Prince, Untitled, 2017
Richard Prince, Untitled, 1998
In his most recent show, the art provocateur Richard Prince appropriates his own work with High Times at Gagosian. The drawings on show date back to the late ‘90s when Prince began speculating what hippies would draw after he re-discovered his Dead Head drawings from the early ‘70s. High Times are collages of scanned drawings inkjeted onto canvases from cathedral to living room-size. Despite the colour and grandeur, an air of cynicism permeates everything in the gallery, except for a solitary double row of 18 original drawings no larger than A5.
Sarah Anne Johnson, The Cave, 2018
Sarah Anne Johnson, The Cave, 2018
Sarah Anne Johnson, The Cave, 2018
Sarah Anne Johnson, The Cave, 2018
Sarah Anne Johnson, The Cave, 2018
The Julie Saul Gallery has been transformed into a large cave by Canadian artist Sarah Anne Johnson as she creates a memorial to her grandmother who, when seeking treatment for postnatal depression in the 1950s, unwittingly took part in mind-control experiments by the CIA that left her permanently disabled. Johnson represents her grandmother and her administering doctor Ewen Cameron with avatars she inhabits in silent, live performances on a rotating platform, employing surrogate performers at other times. The installation evolves from Johnson’s 2009 series House on Fire on the same subject.
