reviews

  • Paul Noble, Three, 2011, Rosa Portugal marble, limestone, 11' 8 7/8“ x 6' 8 3/4” x 6' 4 1/2".

    Paul Noble

    Gagosian Gallery

    W E L C O M E T O N O B S O N, announce the capital letters in the fifteen-part drawing, dated 2010, that prefaced Paul Noble’s first UK solo show since the Whitechapel Gallery’s 2004 survey. But shouldn’t that have been “welcome back”? Noble’s instantly recognizable, manically detailed pencil-on-paper drawings have mapped the dystopia of Nobson for some fifteen years now, and one feels one’s been welcomed to it on several previous occasions. However, despite Nobson’s apparent spatial coherence—its navigable if wonky perspectives and distinctive architectures formed of quasi-legible

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  • View of “Donald Judd,” 2012.

    Donald Judd

    Sprüth Magers | London

    Although works on paper were included in Donald Judd’s midcareer surveys at the Whitney Museum of American Art in 1968 and the Pasadena Art Museum in 1971, the artist’s drawings for various Wall Units, Floor Boxes, Stacks, and Progressions have remained largely under the radar for the four decades since then. With pencil or ink, Judd executed spare, lean schematics on paper of various sizes as preparation for his three-dimensional works. In terms of skill, these sheets occupy a middle ground that’s neither virtuosic nor amateurish. Their most idiosyncratic quality is that many were made on yellow

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  • Jon Thompson, The Toronto Cycle #19 Cadence and Discord (HM) Traer los Sentidos, 2011, oil on canvas, 68 7/8 x 59".

    Jon Thompson

    Anthony Reynolds Gallery

    Apart from being a noted educator, curator, and writer, Jon Thompson has also been an amateur Gouldologist: His latest paintings, like those in his previous exhibition at Anthony Reynolds Gallery in 2009, take their inspiration from the great Canadian pianist Glenn Gould, whom Thompson has clearly been reading and listening to attentively; this entire ongoing series, “The Toronto Cycle,” begun in 2008, takes its name from Gould’s hometown. The new paintings have a rectilinear structure with a division down the middle and bands of color running across each half; a sliver of white forms an edge

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  • Flavio Favelli, Sandokan (Garage), 2011, enamel on iron garage door, 98 x 76".

    Flavio Favelli

    Cardi Gallery, London

    Entering the gallery, one came across a series of three-dimensional collages, assemblages of found furniture, dismantled and reassembled lamps, old majolica, glassware, and memorabilia of the recent past, including gadgets and posters. Flavio Favelli drew upon an extensive range of materials for this solo show, but most common were home furnishings identifiable as belonging to a style widespread in Italy from the latter half of the 1920s to the late ’40s and still present in the homes of Italian grandmothers at least through the 1970s. The style is known as Novecento—twentieth century—because

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