2022

Financial Times

Portrait of a generation

by Ferren Gipson | 21 June 2022

‘On Windrush Day, Thomas J Price’s new statue honours a generation of immigrants.’

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Thomas J Price, 2022. Photo: Ollie Adegboye. Commissioned by the Financial Times

Document Journal

Nicolas Party warps familiar realities into an unsettling world of his own

by Ann Binlot | 13 June 2022

‘Art has a long history of depicting nature—or even [defining] what nature is and what the differences are between human and nature, culture and nature. Nowadays we have [reached] this peak of anxiety about nature and the planet.’

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The New York Times

What to See in N.Y.C. Galleries Right Now

by John Vincler | 25 May 2022

‘The Brooklyn artist often uses several styles in the same work, as in the standout painting, “The Abolitionists in the Park” (2020-21). There’s pizza and tender embraces among a crowd gathered on a blue tarp, with Guston-like caricatures occupying the margins and a realist dual-portrait of Hannah Black and Tobi Haslett occupying the middle…This is ambitious history painting thinking through freedom, asking whose?’

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Nicole Eisenman, The Abolitionists in the Park, 2020-2021 © Nicole Eisenman. Courtesy the artist Photo: Thomas Barratt

Financial Times

The magic of Stonehenge

by Amy Farrell | 21 May 2022

‘In his sculpture, the landscape and the human body are totally interchangeable. Just as they were in the minds of our ancestors; it’s all part of the great circle of life.’

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The Arch at the Forte di Belvedere in Florence, as part of the 1972 Mostra di Henry Moore exhibition⁠. Photo: Henry Moore Archive⁠. Reproduced by the permission of the Henry Moore Foundation

Harper's Bazaar

Sculpture, Stonehenge and the sublime: Hauser & Wirth’s new Somerset exhibition

by Frances Hedges | 20 May 2022

‘Sculpture is a confrontational thing where you and the object come together wordlessly.’

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Henry Moore, ‘Large Interior Form’, 1953-54 and ‘Locking Piece’, 1962-63. ‘Henry Moore. Sharing Form’, Hauser & Wirth Somerset, 2022. Photo: Ken Adlard. Reproduced by permission of The Henry Moore Foundation

Los Angeles Times

Sculptures of grand, vivifying ambition

by Christopher Knight | 26 March 2022

‘You've never seen anything quite like it... Barlow pulls from a variety of established artistic forms, mixes them with her own peculiar sense of invention, then seems to drop them into an industrial-strength blender to produce sculptures of grand, vivifying ambition.’

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Installation view, ‘Phyllida Barlow. glimpse,’ Hauser & Wirth Los Angeles, 2022 © Phyllida Barlow Courtesy the artist and Hauser & Wirth Photo: Zak Kelley

The Brooklyn Rail

Takesada Matsutani with Charles M. Schultz

by Charles M. Schultz | 9 March 2022

‘A new way. New ideas. This is very important.’

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Installation view, ‘Takesada Matsutani. Combine,’ Hauser & Wirth New York 22nd Street, 2022. 3 February – 2 April 2022. © Hauser & Wirth. Courtesy Hauser & Wirth. Photo: Thomas Barratt

The New York Times

What to See in N.Y.C. Galleries Right Now

by John Vincler | 3 March 2022

‘This is painting pressed to an extreme limit...’

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Takesada Matsutani, Circle Yellow-19 2019 Vinyl adhesive, acrylic, canvas, plywood 162.6 x 162.6 x 8.9 cm / 64 x 64 x 3 1/2 in, Photo: Thomas Barrat, © Takesada Matsutani Courtesy the artist and Hauser & Wirth
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