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Hauser & Wirth (Savile Row)

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Made in the USA

by Philippa Snow
It may be important that I admit a bias towards the work of Richard Jackson at the outset of this review; I had the pleasure of interviewing the man for a longform article during the opening of less than a month ago, and found him an ideal subject – thoughtful and vital and, above all, thoroughly uninterested in system or censorship. Unlike many of his contemporaries – Paul McCarthy say, or his good friend Bruce Nauman – Jackson has remained more or less outside the grasp of the mainstream,... [more]
Posted by Philippa Snow on 6/11/14
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When Seeing is Better Than Reading - For artfetch.com

My article about the Bruce Nauman show "mindfuck" where I investigate how sometimes theoritical catalogue essays tell you how to read an artwork rather than opening the conversation. For artfetch.com http://www.artfetch.com/when-seeing-is-better-than-reading/ [more]
Posted by Peter Dobey on 3/15/13
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“Half shaman, half showman”

by Philippa Snow
A month or so ago, I had been clearing out my Dictaphone and come across a recording of an anecdote of Thomas Houseago’s; I’d taped it while at Lismore castle, working out there with Hauser and Wirth, and the general gist of it was about a corpse found just outside his studio. Either the head was missing the body, or the body was missing the head. I can’t quite recall, but either way, Houseago makes the incident vital – a tragicomic allegory for some facet of the artist; that weird proximity to... [more]
Posted by Philippa Snow on 9/10/12
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Everything Leads to Another

by James Cahill
Hauser & Wirth have hit upon an artist whose ambition and productivity are more than a match for their gargantuan galleries. With a dizzying array of sculptures, photographs, and assemblages, Jackson epitomises the propensity for the big, the grandiloquent, and the epic that is discernable in many American writers and artists of the twentieth and twenty-first centuries, from Norman Mailer to Matthew Barney.The centrepiece of the show is a reconditioned B29 cockpit titled . Marooned... [more]
Posted by James Cahill on 5/29/11
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Ida Applebroog

by Laura Bushell
        When she paints, Ida Applebroog treats the canvas like a three-dimensional object, a structure that she annotates with her distinctive monochromatic paintings. These canvases stand freely around the gallery, sometimes in groups, sometimes physically bolted together, other times jutting out from a wall, telling a story across the room like a three dimensional graphic novel. Hauser and Wirth’s Saville Row space is cavernous enough to accommodate many of these Marginalia... [more]
Posted by Laura Bushell on 4/3/11
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Mothers

by Gary McLeod | Visual Artist
        Since experiencing a solo show of his work at Southampton City Art Gallery in 2000, Martin Creed has continued to keep me on side; his modesty naturally prompting us all to give reassurance for his decisions, which were humble, witty and engaging. However, with Creed's return to London at Hauser & Wirth's new gallery space in Savile Row, my patience with his modesty is fraying, and the exhibition – somewhat appropriately divided into two spaces – reinforces this.   In one... [more]
Posted by Gary McLeod | Visual Artist on 2/13/11
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Fragments and Hangings

by Alex Field
        Fabric has an amazing ability to capture memories. When I was growing up, I had a duvet cover patterned with pastel clouds and scenes of fields, and I loved its peaceful colours and tranquil scenes. Two weeks ago my birthday boosted me painfully up into the 25 to 34 age bracket, and yet whenever I go home and find that, now faded, duvet on my old single bed, it reminds me of the cosy safety of childhood. The emotive power of fabric is at the core of Louise Bourgeois’ oeuvre, just... [more]
Posted by Alex Field on 11/14/10
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