A rich, impasto painting by contemporary British artist Richard Cook (@richardvfcook ), hanging in the entrance of a Grade II-listed residential project we worked on in Marylebone.
‘Black Widow’ by Alexander Calder is now showing at @louisvuittonfoundation at the recently opened exhibition “Calder. Rêver en Equilibre.”
Focusing on Calder’s fundamental artistic concerns: movement, light, reflection, humble materials, sound and ephemeral gravity, the exhibition showcases how Calder expanded the very definition of sculpture until his death in 1976.
Alexander Calder
‘Black Widow’, 1948
325 x 251 x 5cm
At Tate Modern, stepping into Tracey Emin’s world feels raw, unapologetic and deeply human; every mark carries weight, every word lands
@tate@traceyeminstudio
Richard Mayhew’s first solo exhibition with the @karmakarma9 , ‘Understory’, opens tomorrow.
Mayhew’s atmospheric, colour-soaked works were created improvisationally and from memory. The exhibition covers Mayhew’s work between 1960 — spent studying color theory in Europe — to 2023, the year before his death.
A favourite artwork by one of our favourite artists, @danielle_mckinney_ .
The work, capturing a beautiful moment of solitude and quiet reflection, is one of several paintings spanning the last five years of Mckinney’s practice to be exhibited this month at the @nortonmuseumofart .
She is the tenth artist in the “Recognition of Art by Women” (RAW) exhibition series.
@marianneboeskygallery
An hour soaking up the boldly raw and often joyful works of Rose Wylie at the @royalacademyarts ; the artist’s largest retrospective to date.
‘Rose Wylie: The Picture Comes First’
Exciting new acquisition: David Hockney’s Pretty Tulips (1969), a quietly powerful still life that captures his unmistakable line, colour and sensitivity to time.
Rendered in a restrained palette, the tulips droop and rise within a patterned blue vase, reflecting Hockney’s fascination with their expressive, fleeting nature once cut. The result is a work that elevates the everyday into something contemplative, playful and enduring, and a beautiful example of his mastery of lithography and spatial perception.
Since the 1960s, flowers have been a central and recurring theme in Hockney’s practice. From etchings and lithographs to later iPad drawings, the humble vase of flowers has remained under constant review. A keen student of art history, Hockney was initially drawn to Vincent van Gogh’s sunflower paintings of the late 1880s. His own exploration of the floral still life provided a means to test formal composition while also interrogating medium, particularly the possibilities of printmaking.
