Our top picks of exhibitions together with cultural spaces and places, both online and in the real world.

All, Art, Auctions, Exhibitions, Travel & Hospitality, Initiatives

Viewing The Guts and The Glory: the heroic and tragic

The Wick Culture - Alexis Soul-Gray, Try to listen to what I would tell you, 2023
Above  Alexis Soul-Gray, Try to listen to what I would tell you, 2023
The Wick Culture - Bo Lee and Workman, Interior View - Kim Booker, I Want to Live Twice, Installation view, 2023
Above  Bo Lee and Workman, Interior View – Kim Booker, I Want to Live Twice, Installation view, 2023
The Wick Culture - Clare Woods, The Smell of Sunday, 2023
Above  Clare Woods, The Smell of Sunday, 2023
The Wick Culture - Kim Booker, Complicated muse, 2023
Above  Kim Booker, Complicated muse, 2023
The Wick Culture - Laura Ford, Dancing Clog Girls, 2015
Above  Laura Ford, Dancing Clog Girls, 2015
The Wick Culture - Laura Ford, My Little Marini, 2020
Above  Laura Ford, My Little Marini, 2020
The Wick Culture - Tomo Campbell, So Says You, 2023
Above  Tomo Campbell, So Says You, 2023
The Wick Culture - Alexis Soul-Gray, Try to listen to what I would tell you, 2023
Above  Alexis Soul-Gray, Try to listen to what I would tell you, 2023
The Wick Culture - Bo Lee and Workman, Interior View - Kim Booker, I Want to Live Twice, Installation view, 2023
Above  Bo Lee and Workman, Interior View – Kim Booker, I Want to Live Twice, Installation view, 2023
The Wick Culture - Clare Woods, The Smell of Sunday, 2023
Above  Clare Woods, The Smell of Sunday, 2023
The Wick Culture - Kim Booker, Complicated muse, 2023
Above  Kim Booker, Complicated muse, 2023
The Wick Culture - Laura Ford, Dancing Clog Girls, 2015
Above  Laura Ford, Dancing Clog Girls, 2015
The Wick Culture - Laura Ford, My Little Marini, 2020
Above  Laura Ford, My Little Marini, 2020
The Wick Culture - Tomo Campbell, So Says You, 2023
Above  Tomo Campbell, So Says You, 2023

The Guts and The Glory

West End, Bruton, Somerset
19 January – 2 March 2024

Six painters and sculptors riff on familiar art historical genres in The Guts and The Glory, while giving them a personal twist, an expressive vigour and good dose of humour. Among them, Tomo Campbell muses on the Neoclassical, depicting abstract figures that are marching, parading or going into battle, while Clare Woods gives the classical still life a visceral, bodily quality. Kim Booker, meanwhile, takes cues from German expressionism and American abstract expression to comment on the female experience today.

It promises to be a rousing journey through history, viewed through an emphatically contemporary lens.
Share story
Dates
19 January 2024 — 02 March 2024
Bo Lee & Workman

Viewing repetition in abstract art at Cristea Roberts Gallery

The Wick Culture - Cornelia Thomsen Golden Ratio Series, 2023. A series of eight aquatints on Hahnemühle paper Edition of 12
Above  Cornelia Thomsen Golden Ratio Series, 2023. A series of eight aquatints on Hahnemühle paper Edition of 12
The Wick Culture - Anni Albers Orange Meander, 1970 Screenprint on Mohawk Superfine paper RM 21 Edition of 75
Above  Anni Albers Orange Meander, 1970 Screenprint on Mohawk Superfine paper RM 21 Edition of 75
The Wick Culture - Rana Begum 88A, 2021 Screenprint on Somerset Satin Radiant White 410gsm paper
Above  Rana Begum 88A, 2021 Screenprint on Somerset Satin Radiant White 410gsm paper
The Wick Culture - Donald Judd Untitled (2), 1980 From a set of six aquatints on etching paper, framed
Above  Donald Judd Untitled (2), 1980 From a set of six aquatints on etching paper, framed
The Wick Culture - Naum Gabo Opus Seven (WE 247), Date unknown Monoprint from professionally made end grain block of Florida boxwood
Above  Naum Gabo Opus Seven (WE 247), Date unknown Monoprint from professionally made end grain block of Florida boxwood
The Wick Culture - Sol Lewitt Concentric Irregular Bands, 1997 A set of four woodcuts on beige wove paper
Above  Sol Lewitt Concentric Irregular Bands, 1997 A set of four woodcuts on beige wove paper
The Wick Culture - Ian Davenport Ovals, 2002 A series of 6 screenprints on Somerset Satin 410gsm Tub sized paper
Above  Ian Davenport Ovals, 2002 A series of 6 screenprints on Somerset Satin 410gsm Tub sized paper
The Wick Culture - Cornelia Thomsen Golden Ratio Series, 2023. A series of eight aquatints on Hahnemühle paper Edition of 12
Above  Cornelia Thomsen Golden Ratio Series, 2023. A series of eight aquatints on Hahnemühle paper Edition of 12
The Wick Culture - Anni Albers Orange Meander, 1970 Screenprint on Mohawk Superfine paper RM 21 Edition of 75
Above  Anni Albers Orange Meander, 1970 Screenprint on Mohawk Superfine paper RM 21 Edition of 75
The Wick Culture - Rana Begum 88A, 2021 Screenprint on Somerset Satin Radiant White 410gsm paper
Above  Rana Begum 88A, 2021 Screenprint on Somerset Satin Radiant White 410gsm paper
The Wick Culture - Donald Judd Untitled (2), 1980 From a set of six aquatints on etching paper, framed
Above  Donald Judd Untitled (2), 1980 From a set of six aquatints on etching paper, framed
The Wick Culture - Naum Gabo Opus Seven (WE 247), Date unknown Monoprint from professionally made end grain block of Florida boxwood
Above  Naum Gabo Opus Seven (WE 247), Date unknown Monoprint from professionally made end grain block of Florida boxwood
The Wick Culture - Sol Lewitt Concentric Irregular Bands, 1997 A set of four woodcuts on beige wove paper
Above  Sol Lewitt Concentric Irregular Bands, 1997 A set of four woodcuts on beige wove paper
The Wick Culture - Ian Davenport Ovals, 2002 A series of 6 screenprints on Somerset Satin 410gsm Tub sized paper
Above  Ian Davenport Ovals, 2002 A series of 6 screenprints on Somerset Satin 410gsm Tub sized paper

Counterpoint

Cristea Roberts Gallery
42 Pall Mall, SW1

Counterpoint at Cristea Roberts Gallery defies the notion that repetition is boring. In this survey of abstract art from the last 70 years, consistent visual elements in a series bring extraordinary energy and vigour to works by artists ranging from midcentury greats to the luminaries of today. We’re particularly taken by Sol Lewitt’s pulsing “Concentric Irregular Bands” from 1997, imbued with so much movement you can almost hear the beat they emit.

The show takes its name from the relationship between two or more musical lines in a composition that are played at the same time – dependent on each other for harmony, yet marching to their own beat. Aquatints by Donald Judd and screenprints by Julian Opie feature alongside new graphic works by Polly Apfelbaum, in which she uses repeated, interlocking pattern to explore shifts in colour on moulded paper pulp. Prepare to be hypnotised.
Share story
Dates
19 January 2024 — 02 March 2024
Counterpoint

Viewing Jeffrey Gibson brings pattern power to London

The Wick Culture - Jeffrey Gibson, 'Untitled Figure 1', 2022. Plastic bone pipe beads, fringe, glass beads, artificial sinew, tin cones, sea glass, acrylic felt, steel armature and powder coat varnish, 181.5 x 118 x 83 cm (71 1/2 x 46 1/2 x 32 5/8in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Todd-White Art Photography.
Above  Jeffrey Gibson, ‘Untitled Figure 1’, 2022. Plastic bone pipe beads, fringe, glass beads, artificial sinew, tin cones, sea glass, acrylic felt, steel armature and powder coat varnish, 181.5 x 118 x 83 cm (71 1/2 x 46 1/2 x 32 5/8in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Todd-White Art Photography.
The Wick Culture - Jeffrey Gibson, 'SPEAKING TO THE TREES AND KISSING THE GROUND', 2023. Found punching bag, expanding foam, acrylic felt, glass beads and artificial sinew, 167.6 x 43.2 x 43.2cm (66 x 17 x 17in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
Above  Jeffrey Gibson, ‘SPEAKING TO THE TREES AND KISSING THE GROUND’, 2023. Found punching bag, expanding foam, acrylic felt, glass beads and artificial sinew, 167.6 x 43.2 x 43.2cm (66 x 17 x 17in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
The Wick Culture - Jeffrey Gibson, 'HOLD ON TO MY HAND', 2023. Acrylic on canvas, vintage beaded elements, vintage pinback button, glass beads, acrylic felt and nylon thread in a custom painted frame, 178.4 x 153cm (70 1/4 x 60 1/4in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
Above  Jeffrey Gibson, ‘HOLD ON TO MY HAND’, 2023. Acrylic on canvas, vintage beaded elements, vintage pinback button, glass beads, acrylic felt and nylon thread in a custom painted frame, 178.4 x 153cm (70 1/4 x 60 1/4in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
The Wick Culture - Jeffrey Gibson, 'I FEEL REAL WHEN YOU HOLD ME', 2023. Acrylic on canvas, vintage pinback button, vintage beaded element, glass beads, acrylic felt and nylon thread in a custom painted frame, 178.4 x 153cm (70 1/4 x 60 1/4in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
Above  Jeffrey Gibson, ‘I FEEL REAL WHEN YOU HOLD ME’, 2023. Acrylic on canvas, vintage pinback button, vintage beaded element, glass beads, acrylic felt and nylon thread in a custom painted frame, 178.4 x 153cm (70 1/4 x 60 1/4in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
The Wick Culture - Jeffrey Gibson, 'I NEED TO BE IN YOUR ARMS', 2023. Acrylic paint on canvas, acrylic velvet, acrylic felt, glass beads, druzy crystal, pin back buttons, artificial sinew, nylon thread, cotton canvas and cotton rope inset in a custom frame, 161.5 x 136cm (63 5/8 x 53 1/2in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
Above  Jeffrey Gibson, ‘I NEED TO BE IN YOUR ARMS’, 2023. Acrylic paint on canvas, acrylic velvet, acrylic felt, glass beads, druzy crystal, pin back buttons, artificial sinew, nylon thread, cotton canvas and cotton rope inset in a custom frame, 161.5 x 136cm (63 5/8 x 53 1/2in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
The Wick Culture - Jeffrey Gibson, 'Untitled Figure 1', 2022. Plastic bone pipe beads, fringe, glass beads, artificial sinew, tin cones, sea glass, acrylic felt, steel armature and powder coat varnish, 181.5 x 118 x 83 cm (71 1/2 x 46 1/2 x 32 5/8in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Todd-White Art Photography.
Above  Jeffrey Gibson, ‘Untitled Figure 1’, 2022. Plastic bone pipe beads, fringe, glass beads, artificial sinew, tin cones, sea glass, acrylic felt, steel armature and powder coat varnish, 181.5 x 118 x 83 cm (71 1/2 x 46 1/2 x 32 5/8in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Todd-White Art Photography.
The Wick Culture - Jeffrey Gibson, 'SPEAKING TO THE TREES AND KISSING THE GROUND', 2023. Found punching bag, expanding foam, acrylic felt, glass beads and artificial sinew, 167.6 x 43.2 x 43.2cm (66 x 17 x 17in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
Above  Jeffrey Gibson, ‘SPEAKING TO THE TREES AND KISSING THE GROUND’, 2023. Found punching bag, expanding foam, acrylic felt, glass beads and artificial sinew, 167.6 x 43.2 x 43.2cm (66 x 17 x 17in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
The Wick Culture - Jeffrey Gibson, 'HOLD ON TO MY HAND', 2023. Acrylic on canvas, vintage beaded elements, vintage pinback button, glass beads, acrylic felt and nylon thread in a custom painted frame, 178.4 x 153cm (70 1/4 x 60 1/4in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
Above  Jeffrey Gibson, ‘HOLD ON TO MY HAND’, 2023. Acrylic on canvas, vintage beaded elements, vintage pinback button, glass beads, acrylic felt and nylon thread in a custom painted frame, 178.4 x 153cm (70 1/4 x 60 1/4in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
The Wick Culture - Jeffrey Gibson, 'I FEEL REAL WHEN YOU HOLD ME', 2023. Acrylic on canvas, vintage pinback button, vintage beaded element, glass beads, acrylic felt and nylon thread in a custom painted frame, 178.4 x 153cm (70 1/4 x 60 1/4in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
Above  Jeffrey Gibson, ‘I FEEL REAL WHEN YOU HOLD ME’, 2023. Acrylic on canvas, vintage pinback button, vintage beaded element, glass beads, acrylic felt and nylon thread in a custom painted frame, 178.4 x 153cm (70 1/4 x 60 1/4in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
The Wick Culture - Jeffrey Gibson, 'I NEED TO BE IN YOUR ARMS', 2023. Acrylic paint on canvas, acrylic velvet, acrylic felt, glass beads, druzy crystal, pin back buttons, artificial sinew, nylon thread, cotton canvas and cotton rope inset in a custom frame, 161.5 x 136cm (63 5/8 x 53 1/2in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.
Above  Jeffrey Gibson, ‘I NEED TO BE IN YOUR ARMS’, 2023. Acrylic paint on canvas, acrylic velvet, acrylic felt, glass beads, druzy crystal, pin back buttons, artificial sinew, nylon thread, cotton canvas and cotton rope inset in a custom frame, 161.5 x 136cm (63 5/8 x 53 1/2in). Copyright Jeffrey Gibson. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Max Yawney.

Jeffrey Gibson: Dreaming Of How It’s Meant To Be

Stephen Friedman Gallery, 5-6 Cork Street, W1
19 January – 24 February 2024

Jeffrey Gibson will be the name on everybody’s lips in 2024 thanks to a bumper crop of upcoming exhibitions. The Colorado-born, Choctaw-Cherokee artist is kicking things off with a solo show at Stephen Friedman Gallery on 19 January before opening a second at the Sainsbury Centre in Norwich in February, alongside having work in the Barbican Centre’s group exhibition, Unravel, opening in the same month. In April, Gibson will also be the first Indigenous artist to represent the United States with a solo pavilion at the Venice Biennale. If you don’t already recognise his electric-hued, mixed media works, you soon will.

Gibson’s geometric sculptures and paintings take cues from North American Indigenous aesthetics and craft. He uses artisanal beadwork, leatherwork and quilting to tell stories about subjects that have been hidden from view, while referencing everything from club culture, queer theory, politics and art history. Dreaming Of How it’s Meant To Be at Stephen Friedman Gallery shows the breadth and vibrancy of his work, while introducing a new series of mixed media pieces that are his most expressive to date. Gestural sweeps of paint, made with his own hands, counterpoint rigid graphic shapes and rich patterns, imbuing the works with a unique tension. We can’t wait to see them up close.
Share story
Dates
19 January 2024 — 24 February 2024
Jeffrey Gibson Instagram
Stephen Friedman Gallery
READ MORE