Anna Barriball

New Drawings

★★☆☆☆

On until 14 March 2024

Barriball is known for repetitive marks which caress surfaces before defeating them with pigment. Now, new drawings of windows – blue, orange, and yellow rectangles of faintly broken-up colour – try to capture shadows cast by the sun on the floor in her studio. They’re visible only against a layer of dust which temporarily settled between gusts of wind. 

But they only feign such fragility. On unsolicited inspection, these blocks turn into dull sheets of waxed paper and not the light-loving cyanotypes or Polaroids to which they make claims. The blinds are drawn tightly over the frames, leaving no highlights, no shadows, and no sunlight either. 

Vague references in the gallery’s text to the artist’s comfortable pandemic isolation fail to illuminate this confusion. The eyes may be the windows of the soul. To make an aphorism of the reverse needs more than shadow-play.


notes and notices are short and curt exhibition reviews. Read more:

The Music is Black at V&A East ★★☆☆☆

The Music is Black: A British Story

★★☆☆☆

Can there be a “black British music” without Britain or blackness?

The Unfinished Business of Living Together at the Swiss pavilion in Venice ★★★☆☆

Nina Wakeford, et al.

The Unfinished Business of Living Together

★★★☆☆

If the Swiss don’t think they’re free, who is?

Ain Bailey: The Jamaica Project at Camden Art Centre ★☆☆☆☆

Ain Bailey

The Jamaica Project

★☆☆☆☆

Without the gallery’s lush sofas, no one would stop to hear this.

Deimantas Narkevičus, The Fifer at Maureen Paley ★★☆☆☆

Deimantas Narkevičus

The Fifer

★★☆☆☆

In the age of the decolonial, this is as quaint as it is outmoded

Jasper Marsalis,  \m/’ at Emalin ★★★★☆

Jasper Marsalis

\m/'

★★★★☆

The circus is in town, its acts are the infrastructure of contentment.

The Stars Fell on Alabama at Edel Assanti ★★★☆☆

Mary L. Bennett, Richard Dial, Thornton Dial, Lonnie Holley, Ronald Lockett, Joe Minter, Mose Tolliver

The Stars Fell on Alabama: Southern Black Renaissance

★★★☆☆

The commercial imperative is understandable. The art historical intent, less clear.

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