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Crossroads:
Kauffman, Judd and Morris, Sprüth Magers, installation view |
Exhibitions Noticeboard – top 5 shows 2018
I missed so many shows that I wanted to see, this year – however,
I did see some great ones. My top 5 (in chronological order of opening) are:
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Crossroads: Kauffman, Judd and Morris (Sprüth Magers, 19 January – 31 March 2018)
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Picasso 1932 – Love, Fame, Tragedy (Tate Modern,
8 March – 9 September 2018)
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Bernard Frize: Blackout in the Grid (Simon Lee,
17 May – 30 June 2018)
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Patrick Heron (Tate St Ives, 19 May – 30 September
2018)
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Albert Irvin and Abstract Expressionism (RWA, 8
December 2018 – 3 March 2019)
Pictures below.
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Crossroads:
Kauffman, Judd and Morris, Sprüth Magers, installation view |
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Craig Kauffman, Untitled, 1967 |
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Pablo Picasso, Woman on the Beach (Nu sur la plage), 1932 |
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Pablo Picasso, Girl before a Mirror (Jeune fille devant un miroir), 1932 |
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Pablo Picaso, Nude in a Black Armchair (Nu au fauteuil noir), 1932 |
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Pablo Picasso, The Dream (Le Rêve), 1932 |
Bernard Frize: Blackout in the Grid (Simon Lee,
17 May – 30 June 2018)
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Bernard Frize, Vatu, 2018 |
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Bernard Frize, Session, 1999 |
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Bernard Frize, Levet, 2017 |
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Bernard Frize, Wir, 2018 |
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Patrick Heron, Cadmium with Violet, Scarlet, Emerald, Lemon and Venetian: 1969,
1969 |
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Patrick Heron, Interior with Garden Window: 1955, 1955
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Patrick Heron, Green and Mauve Horizontals: January 1958, 1958 |
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Patrick Heron, Five Discs: 1963, 1963 |
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Patrick Heron, Square Green with Orange, Violet and Lemon: 1969, 1969
Square Green with Orange, Violet and Lemon: 1969.
Read more at: https://inews.co.uk/culture/patrick-heron-retrospective-tate-st-ives-delights-matisse/
Square Green with Orange, Violet and Lemon: 1969.
Read more at: https://inews.co.uk/culture/patrick-heron-retrospective-tate-st-ives-delights-matisse/
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Albert Irvin and Abstract Expressionism (RWA, 8
December 2018 – 3 March 2019
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Albert Irvin, Kestrel, 1981 |
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Albert Irvin, Hands on Piano Keys 2, c1955 |
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Jackson Pollock, Yellow Islands, 1952 |
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Albert Irvin, Sky, c1960 |
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Albert Irvin, Black Moves, 1964 |
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Albert Irvin, Almada, 1985 |