Michael Wilson

  • picks May 10, 2001

    Adam Ross

    Ross's floating worlds on view at Nylon

    “In Echoed Steps I Walked Across This Empty Dream‚” the title of Californian painter Adam Ross’s first solo show in the UK, is entirely appropriate to his ethereal, futuristic vision of the urban landscape. In five paintings and one long graphite drawing, Ross offers us crystalline windows on a floating world of impossibly perfect quasi-architectural structures and cloudless pastel skies. Inspired as much by the endearing mistakes of predictive science fiction and the fantastical imagery of Yves Tanguy as they are by the realities of contemporary digital technology, the utopia that Ross imagines

  • picks May 10, 2001

    Paul Huxley and Lolly Batty

    Crystal Geometries by Huxley and Batty

    In a pairing so aesthetically sweet as to verge on cloying, Rhodes + Mann has hooked up abstract painter Paul Huxley with the exquisitely named sculptor Lolly Batty. While the two may belong to different generations (Huxley has been exhibiting since the ’60s and is professor emeritus at the Royal College of Art; Batty is well known but a relative newcomer), both have an interest in geometry, explored through fastidiously precise execution. Batty presents an array of pure white plaster-coated polyhedrons suggestive of stars or crystals. Displayed freestanding or on glass shelves, these form a

  • picks April 28, 2001

    Brian Griffiths

    Brian Griffiths's “When Few Were Charmed”

    Brian Griffiths used to build computers. Not real computers, or even convincing simulacra, but charmingly amateurish mock-ups glued together with tape, string, and cardboard. His was a childlike vision of our technological future—the bridge of the Starship Enterprise as imagined from its crèche. At Vilma Gold, Griffiths has wandered off in an equally unknowable direction: the mythic past. In this new series of sculptures, the young Londoner presents us with a shambolic parade of unnamed figures, apparently embarking on some mysterious quest. They are constructed with a rough-and-ready energy,

  • picks April 17, 2001

    Eva Rothschild

    Irish artist Eva Rothchild's magic Minimalism

    Poised between faith and failure, the work of Eva Rothschild exudes a melancholic ambiguity. In this show—the Irish artist’s London solo debut—she demonstrates the subtle emotional power of her magic-minimalist approach. Rothschild’s trademark technique is to alter and weave together two different found posters. While this process might suggest the coziness of craft, the imagery employed tends toward the cosmic. In Rhythm + Knowledge, 2001, an intertwined pair of fluorescent squiggles emerge from a matte-black ground, while Absolute Power, 2001, features orbiting planets and beams of light.

  • picks April 05, 2001

    Richard Wilson

    Richard Wilson turns his house upside down

    In 1996, Richard Wilson presided over the temporary closure of the Serpentine Gallery in London, taking its impending refurbishment as his cue to drill the building full of holes. Now, Gimpel Fils has asked him to inaugurate its newly renovated space. Wilson is best known for his gutsy approach to the reinterpretation of architectural structures. For the 1987 installation 20:50, he filled a section of the Saatchi Gallery’s cavernous interior with sump oil, creating a highly reflective surface and some extraordinary optical tricks. More low-key, the current show features drawings, models, and

  • picks March 29, 2001

    Beck's Futures 2

    Beck's Futures vies with the Turner Prize

    Beck’s was an enthusiastic sponsor of the London scene throughout the '90s renaissance, so their establishment last year of a new award for young artists has not come as a great shock. Critic Matthew Collings describes Beck’s Futures as still attractively undefined‚ looser and hipper than the Turner Prize. But at £65,000, the prize fund is already larger, and the show will tour the UK before landing in New York in October 2001. This year’s judges, who include novelist Zadie Smith, author of White Teeth (and the ICA’s first writer-in-residence), critic and curator Richard Flood, and painter Gary