• Patrick Heron

    Tate Modern

    Patrick Heron is at heart a modernist in the tradition of Roger Fry and Clement Greenberg: the seventy-odd pictures on view at the Tate Gallery charted a logic of space, color, and rhythm evolving over six decades. There was no postmodern irony here, no heavyweight subject matter, not even a hint of concerns beyond the two-dimensional arena of the canvas itself. It is this attitude that allows Heron to assert in the catalogue accompanying the exhibition that the decorative is “the height of art.” The painter’s entire enterprise represents a struggle to keep alive Matisse’s vision of art meant

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  • Brad Lochore

    Victoria Miro Gallery | 16 Wharf Road

    In his recent “Still Life” series, Brad Lochore painted images of shadow projections seemingly set in motion. Unlike the Dutch Baroque approach to vanitas still life, in which solemn arrangements of benign objects suggest the fragility of human life by revealing their decaying physicality, Lochore’s hallucinatory paintings of shadows are almost weightless; they seem to locate the transitory in the image itself rather than in the passage of time.

    Five large oils on canvas (each titled Shadow and designated by number) were based on an arrangement of an indistinct branch with dried-out leaves fastened

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  • Manfred Pernice


    In a brand new gallery just off Bond Street—a pristine environment of gray, shiny, almost plastic-looking floors and freshly painted, brilliant white walls—Manfred Pernice introduced two constructions. A large, boxlike structure entitled Big Bell, 1998, occupied the front space. Almost seven feet long, over two-and-a-half feet wide, and over six feet in height, it has been knocked together in reasonably sturdy fashion from lengths of unplaned timber, tongue-and-groove chipboard panels of the sort used in cladding or floor lining, and a couple of cheap, ready-made doors. One of the

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