reviews

  • Guy Mees, Van het blauw van de zee (From the Blue of the Sea), 1980–90, pastel and pencil on paper, 52 3/8 x 60 1/4".

    Guy Mees

    David Zwirner | London

    Belgian artist Guy Mees’s paper cutouts—elongated, irregular scraps of colored paper pinned directly onto the wall—are at once transcendentally beautiful and strikingly material. Verloren Ruimte (Lost Space), 1992, to take one notable example, consists of two slivers of different reds flickering by. The work, which is drawn from the 1983–93 series of the same title, seemed to flash at a higher realm of experience. Yet one of the paper scraps protrudes subtly from the wall—a powerful remnant of the artist’s process that stops the work from transporting the viewer somewhere else.

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  • Vicky Wright, The Absent Face—Where Are You? VI, 2017, oil and natural gesso with geological mica on linen over aluminum panel, 46 3/4 x 33 3/8".

    Vicky Wright

    Josh Lilley

    Vicky Wright’s exhibition “Night Shift” was articulated in two distinct parts. The gallery’s compact ground-floor space was devoted to an installation of wall-mounted figurative paper sculptures along with some drawings, titled five parts MACHINE, one of DESIRE (perpetuates a self-replicating monadic structure) (all works 2017), whose composition served in part to draw the viewer toward the stairwell leading to the more extensive basement level, which housed seven paintings. The ground-floor installation featured a pair of abstracted, comically elongated figures, apparently male, constructed

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  • View of “Rachel Pimm,” 2017. Photo: Charlie Littlewood.

    Rachel Pimm

    Hales Gallery | London

    Rachel Pimm roots her practice in an awareness that we exist in the age of the Anthropocene—the new geological epoch, so named in the 1980s by ecologist and biologist Eugene F. Stoermer—in which human activity has become the most significant force affecting geological and atmospheric systems. Pimm’s work often deals with the relationship between nature and human-made products, and for this show, “Resistant Materials,” she focused on the curved tiles desigwned and produced since 2010 by the Netherlands-based company DTile.

    On its website, the company makes an unsettling claim: “If it

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  • Duncan Grant, Bathing, 1911, oil on canvas, 7' 6“ x 10' 1/2”. From “Queer British Art 1861–1967.”

    “Queer British Art 1861–1967”

    Tate Britain

    The idea of encapsulating a nation’s history of queer art in a single show could easily have led to a neckbreaking curatorial endeavor going awry. What makes art queer or otherwise anyway? And how can one tell what is queer and what isn’t when examining a period in which socially unacceptable desires often had to be disguised, lest criminal prosecution follow? The press release for “Queer British Art 1861–1967,” curated by Clare Barlow, explains that the word queer was meant to express the “full diversity of sexualities and gender identities represented in the show.” Astonishingly, the show

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