Dominic Harris – interview: ‘I’m trying to empower the viewer to assume a larger force within the artworks’
Dominic Harris speaking to Studio International before the opening of his exhibition Feeding Consciousness, Halcyon Gallery, London, May 2023. Photo: Martin Kennedy.
At his latest exhibition, Feeding Consciousness, at the Halcyon Gallery, the British artist discussed his inspirations and the artistic processes behind the interactive digital artworks on show
Agata Słowak, Sytuacja z niedźwiadkiem polarnym i liskiem (Situation With Polar Bear and Fox), 2023. Oil on canvas, 43 1/4 x 31 1/2 in (110 x 80 cm). Courtesy of the artist, Foksal Gallery Foundation, Warsaw, and Fortnight Institute, New York.
Identity and sexuality are explored in the young Polish artist’s powerful and controversial paintings, in which the female nude is often the central focus.
Gwen John. Self-Portrait with a letter, c1907-9. Pencil and watercolour. Musée Rodin.
With her focus on quiet domestic interiors and sensitive portraits of women, Gwen has long been seen as a shy recluse, but this show makes clear that she was anything but.
Mary Ramsden. Left to right: Dry white rectangles of moonlight; The end came and went; Like the sound of the wind in a movie. Each 170 x 110 cm, 2023. Installation view, The Reason for Painting, Mead Gallery, Warwick Arts Centre, 2023. Photo: Luke Pickering.
This show is billed as bringing together a group of younger artists ‘experimenting with colour, mark and form, to create moments of joy’, but while there is much to enjoy here it is hard to find commonalities.
Amy Sillman: Temporary Object, installation view, Thomas Dane Gallery, Naples. © Amy Sillman. Courtesy the artist, Gladstone Gallery, New York and Thomas Dane Gallery. Photo: Roberto Salomone.
On the occasion of her latest exhibition at Thomas Dane’s Naples gallery, the ever-probing Sillman considers her enduring fascination with process, impatience with beauty, and why humour is the key to life.
Maki Na Kamura in her studio, April 2023. Photo: © Maki Na Kamura. Courtesy Michael Werner Gallery, New York and London.
The Berlin-based Japanese painter touches on her interest in patterns of structures and texture, a knowing circumvention of figuration and the magic of painting.
La Horde, Novaciéries, 2015. Single-channel video installation; projection wall, forklift, dance mats, video, 16′48′′, colour, sound. Dimensions variable. Installation view, (LA)HORDE, JSF Berlin. Photo: Alwin Lay.
An invigorating survey of the French art and dance collective explores how dance binds communities together.
Jaune Quick-to-See Smith, Indian Madonna Enthroned, 1974. Burlap, fabric, polyester batting, dried corn, leather thongs, beaded leather bands, necklaces, book (God Is Red by Vine Deloria Jr.), pheasant wings, American flag, beaded hide moccasins, two framed ink and graphite pencil drawings, Masonite cradleboard, animal hide, sheepskin and fleece, bird feet, wood chair, and painted plywood, 52 × 34 × 20 in (132.1 × 86.4 × 50.8 cm). Collection of the artist; courtesy Garth Greenan Gallery, New York. Fabricated by Andy Ambrose. © Jaune Quick-to-See Smith. Photo: Neal Ambrose-Smith.
In the first New York retrospective of the artist’s work, covering almost five decades, she offers a view of US history, geography and government policy through an Indigenous lens.
Brent Watanabe, San Andreas Streaming Deer Cam, 2015-16. © the Artist.
Are we free to make our own decisions in an age in which technology is used to manipulate us? Curator Giorgio Olivero hopes the works of the six artists in this show will make us more aware and therefore better able to break free of technological control.
Installation view, Simone Leigh, the Institute of Contemporary Art/Boston, 2023. Photo: Timothy Schenck.
Ceramic, bronze and video works spanning 20 years of Leigh’s practice, including nine works from last year’s Venice Biennale, give power to the strength, endurance and knowledge of Black women.
Dante Gabriel Rossetti. Lady Lilith, 1866-68 (altered 1872-1873). Delaware Art Museum, Samuel and Mary R. Bancroft Memorial, 1935.
This exhibition is both broader and narrower than its title suggests. In a nutshell, it brings together undeniably beautiful – if, on reflection, a little disturbing – poetry and paintings about obsessive love.
Gil Joseph Wolman. Michèle Bernstein / Tautologie. (Séparation), c1986. Photograph and typewritten text.
This exhibition is a joy, combining leaflets, flyers and other ephemera from Debord and Wolman’s period of collaborative working and their Lettrist International project, as well as artworks that Wolman created after the two had parted ways.
Kate Spencer Stewart: Diurne, installation view, Emalin, London, 6 May - 17 June 2023. Photo: Stephen James.
Stewart takes into account the contingencies of ambient light, her works iridescent, shimmering between hues and moods depending on the moment, and on where you stand.
Kira Freije. Vocabulary of ruin and the divine wound, 2023. Stainless steel, cast aluminium, silk, velvet, wool, cigarette. Photo: Veronica Simpson.
The E-Werk’s Turbine Hall is the perfect setting for Freije’s new figurative metal sculptures. This vast venue opened up new possibilities for her work, she says, explaining the ideas behind her figures and how using lighting designers has been transformational.
Left: Hilma af Klint, The Ten Largest, Group IV, No. 7, Adulthood, 1907. Courtesy of The Hilma af Klint Foundation. Right: Piet Mondrian, Composition with Grid 3 Lozenge Composition with grey Lines, 1918. Kunstmuseum Den Haag.
They never met or even knew of one another’s work, yet they are united by a belief in theosophy and divine nature and a penchant for abstract painting.
Emily Kraus. Courtesy of the Artist.
This young painter, fresh out of the Royal College of Art, has already developed her own, very distinctive way of method of painting, producing vivid and dramatic textured works.
Andy Warhol: The Textiles, installation view, Fashion and Textile Museum, London, 2023.
If you thought you knew everything about Warhol’s work, this show may surprise you. The curators have unearthed a selection of vintage garments and fabrics printed with designs that reveal Warhol’s wit and eye for a memorable image.
Michael E Smith, Untitled, 2023. Basketballs, stairs. Installation view, Henry Moore Institute, Leeds. Photo: Veronica Simpson.
A scruffy old armchair, two grubby basketballs, ventilation panels, dirty white walls – it’s unsettling, not what you expect of a show. But this sense of discomfiture is exactly what Smith wants you to feel.
Christina Seilern. Photo: Kanipak Photography.
Having set up Studio Seilern Architects in 2006, Christina Seilern has been quietly building a solid body of elegant, spatially ambitious buildings and is now garnering the industry accolades she deserves. She talks about storytelling, sexism, slow regeneration and prioritising interesting work.
Hunterian Visitor Experience Assistant Esme Rankin in the reframed Hunterian Art Gallery.  Photo courtesy Martin Shields Photography.
Scotland’s oldest public museum has “reframed” its historic collection to recognise Glasgow’s links to empire, slavery and colonialism.
Isaac Julien, Looking for Langston, installation view, Tate Britain, 2023. Photo: Jack Hems. © Isaac Julien. Courtesy the artist and Victoria Miro.
Charting 40 years of the film-maker’s career, this exhibition immerses its audience in slavery, immigration and homophobia. This is cultural activism at its best.
Installation view, Ai Weiwei: Making Sense, The Design Museum, London 2023. Photo: Ed Reeve.
Ai has a genius for incorporating pieces of everyday design into his work as a form of protest at government oppression and corruption, or as a means of questioning our cultural fixations. And where better to parade that talent than at London’s Design Museum, in this career-spanning retrospective?.
James Ward, Fanny, A Favourite Dog, 1822. By courtesy of the Trustees of Sir John Soane’s Museum, London.
While some might be quick to dismiss #WallaceWoofs as kitsch and gimmicky, it is a well-founded and well-grounded exhibition – and gets the lick of approval from my four-legged companion.
Left: Chaim Soutine, Le valet de chambre, c1927. Oil on canvas. The Lewis Collection. Right: Leon Kossoff, Head of Seedo, 1964. Property of the Roden Family. Copyright Leon Kossoff Estate.
Colour, gesture and expression permeate the works of Chaïm Soutine and Leon Kossoff, but this exhibition cleverly allows each artist to be seen on his own terms.
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