Lydia Gifford

Low Anchored Cloud

★★☆☆☆

On until 13 April 2024

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.


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

Nicole Eisenman, What Happened at Whitechapel Gallery ★★★☆☆

Nicole Eisenman

What Happened

★★★☆☆

There’s a Bosch hellscape dedicated to Trump and a whole “basket of deplorables” polishing their guns in a prepper cell.

Riar Rizaldi, Mirage at Gasworks ★★★☆☆

Riar Rizaldi

Mirage

★★★☆☆

When an artist thinks he’s understood quantum mechanics, he doesn’t. How will he know if he knows god?

Herman Chong, The Book of Equators at Amanda Wilkinson ★★☆☆☆

Herman Chong

The Book of Equators

★★☆☆☆

Chong was probably reading some epic while painting his Equator pictures.

Choon Mi Kim, ACID—FREEEE at Ginny on Frederick ★☆☆☆☆

Choon Mi Kim

ACID—FREEEE

★☆☆☆☆

Some forms of abstraction simply scream ‘my kid could have made that’.

Your Ghosts Are Mine at Palazzo Franchetti ★★★☆☆

Your Ghosts Are Mine: Expanded Cinemas, Amplified Voices

★★★☆☆

This attempt at building pan-Arabic film aesthetics falls prey to the art technician’s trickery.

Talar Aghabshian, Solace of the Afterimage at Marfa’ at The Approach ★★☆☆☆

Talar Aghbashian

Solace of the Afterimage

★★☆☆☆

The carpet dealer gallerist’s zeal reveals the work’s lamentable inadequacy. 

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