Gifford’s lazy assemblages of textiles and oil paint – applied so thickly that it’s a miracle the canvases don’t bring the gallery walls down with them – are interested in little but their own form. A handful, as if to expose the artist’s obsessive yet underdeveloped idea of a masterstroke, incorporate domestic objects like the detritus of the laundry room or scraps of the bedroom curtain. Whatever stories these compositions bore in the artist’s studio, in the collector’s home they’ll only gather dust.
Lydia Gifford Low Anchored Cloud
Lydia Gifford
Low Anchored Cloud
★★☆☆☆
On until 13 April 2024
notes and notices are short and curt exhibition reviews. Read more:
Some May Work as Symbols: Art Made in Brazil, 1950s–70s
★★★★☆
Art history can catch modernity in splitting from the past and thus from itself.
Talar Aghbashian
Talar Aghbashian
Solace of the Afterimage
★★☆☆☆
The carpet dealer gallerist’s zeal reveals the work’s lamentable inadequacy.
Vlatka Horvat
Vlatka Horvat
By the Means at Hand
★★☆☆☆
This closed circulation project speaks to and agrees with only itself.
Sin Wei Kin
Sin Wei Kin
Portraits
★★☆☆☆
This exhibition combines the most vulgar of all art school tropes: juvenile narcissism, NFT kitsch, and mindless referentialism.
Tommy Camerno
Tommy Camerno
Delirious
★★☆☆☆
What’s left of the show are stage props that feed adolescent imaginations with false memories of the long-finished party.
RE/SISTERS
★★☆☆☆
Too many deadpan landscape photographs turn intrigue into fatigue and into paralysis.
