Jan Gatewood

Group Relations

★☆☆☆☆

On until 2 March 2024

“Like people, rabbits come in a variety of different shapes, sizes, and colours”, the exhibition handout warns visitors. Beware, ye faint of heart because Gatewood has bred at least a dozen. She has a story for each and each is more thrilling than the last. The show’s a dive down the warren and it will leave you breathless. 

But not thanks to the qualities of her rainbow pastels. No. These rabbits are, to swap Gatewood’s idiotic euphemism for another, stand-ins for ‘historically oppressed people’. “Children of the projects” appear in one. Others, she explains, are the alter egos of Toni Morrison, David Hammons, and Kara Walker. 

As though this couldn’t get any more patronising, the bunnies preach morals. “Rearrange yourself as an act of humility,” one challenges the bamboozled viewer. Such thin metaphors could only have come from LA. Did Gatewood look at her “In This House We Believe” yard sign and think that it needed some furries?


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

Leah Clements: Apophenia at PEER ★★☆☆☆

Leah Clements

Apophenia

★★☆☆☆

It takes a lot to pull off an essay film, and Clements is no essayist.

Hannah Tilson, Soft Cut at Cedric Bardawil ★★☆☆☆

Hannah Tilson

Soft Cut

★★☆☆☆

Tilson’s styled self-portraits are an affectation that will take many years of practice to pay off.

RE/SISTERS at Barbican ★★☆☆☆

RE/SISTERS

★★☆☆☆

Too many deadpan landscape photographs turn intrigue into fatigue and into paralysis.

Veronica Ryan: Multiple Conversations at Whitechapel Gallery ★★☆☆☆

Veronica Ryan

Multiple Conversations

★★☆☆☆

The impulse at play is that repetition makes up for an idea by sheer volume. It doesn’t.

Justin Fitzpatrick, Ballotta at Seventeen ★★★★★

Justin Fitzpatrick

Ballotta

★★★★★

The reward for taking part in this experiment of life is ascension to the holy orders. 

Jenny Saville: The Anatomy of Painting at National Portrait Gallery ★★★☆☆

Jenny Saville

The Anatomy of Painting

★★★☆☆

There is no trace of the visceral in Saville’s gentle pencil studies, for example.

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