Spring
The nonagenarian Katz is an acquired taste. His bold colouring and reduced forms are perfect for sore American eyes trained on advertising and pop art. To them, such habitual simplicity might look like an unpretentious virtue.
Should flower arrangements need such an initiation? Katz’s pictures of willow and daffodils are pleasant but trivial. The man’s a legend, granted – think Hockney and his later landscapes – but this emperor’s clothes have moth holes.
notes and notices are short and curt exhibition reviews. Read more:
QR CODES REVISITED—LONDON
This invites a game of proofreading, in hope that Amer maliciously inserted a greengrocer’s apostrophe into de Beauvoir’s mind.
The shadow of tomorrow draws an ancient silhouette
Auer is more interested in the fate of painting than humanity and thus stands apart from the army of zealots who make eco art today.
Davis’ canvases give an account of time more sensitively than the Victorian portrait photograph
Lesser Numerator
Aj Tjoe’s paintings could make great scenic backdrops to a David Attenborough documentary on the life of wild rodents
Green in the Grooves
The whole thing feels like a remake of Wind in the Willows directed by a garden gnome.
Soft Ground
It’s stressful enough to fuck in the forest for fear of passers-by or the police; imagine having to also look out for curators.
