Andrew Hunt

  • Denzil Forrester

    Denzil Forrester’s recent rise as a significant force in painting has been as unexpected as it is apposite. Following shows in 2016 at New York’s White Columns and London’s Tramps, and in 2019 at London’s Stephen Friedman Gallery, his recent most exhibition, “Itchin & Scratchin,” was an attempt to represent his forty-year career.

    Forrester arrived in the UK from Grenada in 1967, when he was eleven. In the London of the 1980s, his early works didn’t simply reflect black communities’ countercultural expression through music and the reggae, dub, and dancehall clubs where it thrived and where he was

  • Elizabeth Price

    Walking into Elizabeth Price’s “A LONG MEMORY” is like entering a giant Rorschach test. A nearly symmetrical display containing two-dimensional works in the bright atrium gallery is complemented by darkened adjoining wings holding a miniretrospective of Price’s moving-image work. As a psychological mind map connecting the space between the left and right sides of the brain, so to speak, the central installation of three otherwise disparate recent works attempts to synthesize subjective dichotomies from past and present in Price’s oeuvre.

    The central work in this space is The Albert Walker Archive

  • Katherine Bradford

    In Katherine Bradford’s painting Push Pull, 2019, a featureless, androgynous individual is held centrally in the frame by a number of roughly hewn limbs reaching from the left and the right of the canvas. They buttress the figure in an aggressive manner but, strangely, also support and even care for it. Is this “push pull,” or tug-of-war, between figure and ground a form of protection or a confrontation? Some of the other paintings in Bradford’s recent exhibition “Legs and Stripes,” such as Choice of Heads, 2019, and Leg Hold, 2019, ask the same question. The former, hewn in layers of bright

  • Florian Krewer

    These are exciting times for figurative painting. Promising new talents keep turning up. Among the latest arrivals is Florian Krewer, until recently one of Peter Doig’s students at the Kunstakademie Düsseldorf. Like the work of his teacher, Krewer’s eccentric explorations appear by turns hysterical and catastrophic. His pictures of adolescents hanging out in indeterminate urban locations show them caught in a kind of relaxed, abject splendor. Their faces, with Edvard Munch-like contortions or Francis Bacon-like smears, suggest they live a lifestyle founded on nihilism, caught in a state of

  • Alastair Mackinven and Behrang Karimi

    Initially, Maureen Paley’s website presented little information about this exhibition of new paintings by Alastair Mackinven and Behrang Karimi: only an image of an ornate twin-spouted vinaigrette vessel—a nod, perhaps, to the artists’ shared love of enigma. A few days later, a fragmented press text reinforced this notion. In it, Mackinven wrote, “Red pink and purple . . . from the comedian the audience wants new material, from the touring band the audience wants old material and from the artist . . .” Raising questions of artistic consistency and gregarious eclecticism, Mackinven’s text continued:

  • Katja Seib

    A series of stylishly sinister oppositions set the scene for this exhibition by German painter Katja Seib, in which real and imagined portraits merged with a mannered symbolism. The self-conscious, carefully rendered large-scale works downstairs contrasted with more informal, and generally much smaller, paintings upstairs. Within the context of this pristine blue-chip gallery space, Seib’s works’ deceptive ambiguity existed as a glitteringly corporate criticality that posed paradoxical questions around painting’s relation to time. The exhibition’s title, “dear diary,” hinted at the revelation

  • Tai Shani

    “Dark Continent: SEMIRAMIS,” Tai Shani’s exhibition at the Glasgow International festival this past spring—a four-day event that included actors performing the artist’s scripts within a sculptural installation—was roundly praised by critics, so it was interesting to see her subsequent exhibition in Leeds, which expanded on some of the ideas deployed in that project. “Semiramis” envisioned a kind of city of women with twelve key characters that Shani has developed over the past four years. Occupying the entire building, the show extended from the downstairs foyer—where literary

  • Pia Camil

    My short visit to Nottingham in July came at first as a relief from the unusual heat in London, but then I noticed that a palpable anxiety had taken hold since I was last there a couple of years earlier: I witnessed two people crying in the street, one of them on the phone openly discussing his mental health and political views between bursts of hysteria. Through its evocation of physical and psychological borders and, by implication, the global resurgence in nationalism and the ideological duplicity of Donald Trump’s Mexican border wall and Theresa May’s Brexit, Pia Camil’s exhibition “Split