Through sleet, or snow, or driving rain… George Shaw from New York.
Alison Elizabeth Taylor, Forgive me, Mr Eakins, 2017
Alison Elizabeth Taylor, Sam’s Town, 2016
Alison Elizabeth Taylor, Solutionism Plan B, 2017
Alison Elizabeth Taylor, The Cosmopolitan, 2016
Alison Elizabeth Taylor, The Desert Inn, 2017
At the James Cohan Gallery, Alison Elizabeth Taylor reveals an evolution of her well-known marquetry ‘paintings’ in a new series that adds collaged paint and photography. Taylor composed the final images after researching tableau and narrative paintings by Thomas Eakins, Otto Dix and George Grosz. With a focus on contemporary American public life, Taylor turns an eye to the pursuit of pleasure in its various forms in and around her hometown of Las Vegas. While some works centre on the mania of maximalist casinos, others reflect an escape to nature.
Frances Goodman, Swoon, 2017
Frances Goodman, Comforter, 2017
Frances Goodman, Seething Red, 2017
Frances Goodman, Wide Eyed, 2017
Frances Goodman, Hopelessly Devoted, 2017
South-African artist Frances Goodman continues her conversation about female identity by exploring the notion of ‘the surface,’ at the Richard Taittinger Gallery. However, Goodman goes deeper than the idea of skin by considering ‘the surface’ as an allusion to the way a woman presents herself, the image she wishes to portray, and how she maintains that exterior. Goodman employs historical crafting techniques such as quilting, crochet and embroidery to explore these themes, subverting them by using materials like richly coloured acrylic nails, and sequins to create extravagant portraits and sculptures.
Tunji Adeniyi-Jones, The Prince’s Red Serpent, 2016
Tunji Adeniyi-Jones, Blue Dancer, 2017
Tunji Adeniyi-Jones, Red Twins, 2016
Tunji Adeniyi-Jones, Blue Sovereigns, 2017
Tunji Adeniyi-Jones, Resting Oryx, 2016
Yoruba-born, London-raised Tunji Adeniyi-Jones presents Flash of the Spirit at Nicelle Beauchene, an exhibition of re-imagined mythologies from ancient West African kingdoms. The exhibition’s title comes from the Robert Farris Thompson book of the same name, which elaborates on the lasting influence of ancient West African aesthetic traditions on contemporary diasporic communities. Adeniyi-Jones paints alluring, androgynous characters from a concise palette often with figures being reminiscent of Matisse. While the mythological context remains closed to the viewer, a certain mystique is maintained by the subjects despite the force of colour.
