Sir Anthony Caro, photographed by Nicholas Sinclair
3×3: Three To See
In the first of what will be a quarterly featurette, Frame and Reference invites an artist (from any creative discipline) who is living or working in the South East region to select three galleries and shows from the Contemporary Visual Art Network in the South East that they would like to visit over the summer months from June-August.
To launch this new section Frame and Reference asked Brighton-based singer, songwriter, instrumentalist, composer, filmmaker and Bad Seed (currently on tour in the US with Nick Cave) Barry Adamson to make his show selections from 10 art galleries in the region. His selection spans black and white photography, painting and text installation with shows running from now until October so there’s plenty of time to catch some visual art in Chichester, Hastings and Oxford.
1) First on the list is Pallant House Gallery in Chichester where there are two contrasting shows, Nicholas Sinclair: Artists’ Portraits on at the De’Longhi Print Room until 22 June and The Scottish Colourist: John Duncan Fergusson from 5 July-22 October.
“Sinclair’s photographs have a commanding modern energy to them that instantly soundtrack the mind with investigative need. Set against the slower, louche colour and light of Duncan Fergusson’s languid painting and sculpture, theses two shows offer an artist’s day out, if ever there was such a thing! And it’s a great setting for them too.”
“There’s something of the ‘duende-noir’ at play in Ansel Krut’s paintings. You just can’t help but smile like a kid; it’s like watching grown-up cartoons that explode with the vibrancy of cheeky paradoxical subversion. A treat to see them in the flesh, methinks.”
3) Barbara Kruger‘s upcoming solo show including a site-specific architectural wrap of the Upper Gallery at Modern Art Oxford is the final pick for the Summer.
Barbara Kruger, Belief and Doubt, 2012. Hirshhorn Museum (Lower Level Lobby).© Barbara KrugerCourtesy Sprüth Magers Berlin London
“The all immersive pelting of advertising can indeed turn one into a ‘mad man’ or woman as Barbara Kruger again pulls no ‘pronoun punches’ in her usual, slogan-slapping and text-torture wraparound ironic manipulations. There is no escape!”