Michael Simpson is part of the group
exhibition Tightrope Walk: Painted Images After Abstraction at White Cube, Bermondsey opening on Tuesday November 24th through January 24 2016.
Not exact matches
Previous solo and group
exhibitions include: Situations, You Space and Extra Space, Shenzhen (2018); Documenta 14, Athens and Kassel (2017); Shut Up and Paint, National Gallery of Victoria, Melbourne (2016); Cher (e) s Ami (e) s, Centre Pompidou, Paris (2016); The Same Old Fucking Story, Rodeo, London (2016);
Tightrope Walk: Painted Images After Abstraction, White Cube, London (2015); Unrealism, The Moore Building, Miami (2015); Burning Down the House, 10th Gwangju Biennale, Gwangju (2014); This is Not my Beautiful House, Kunsthalle Athena, Athens (2014); Everyday a Stage, Rodeo, Istanbul (2014); System of Objects, DESTE Foundation, Athens (2013); Apostolos Georgiou.
White Cube Bermondsey presents «
Tightrope Walk: Painted Images after Abstraction», a group
exhibition, curated by Barry Schwabsky.
Somewhere in the
exhibition's development, the title «Reinventing Presence» was changed to the snappier
Tightrope Walk — which comes from an observation by Francis Bacon about his «tightrope walk between what is called figurative painting and abstractio
Tightrope Walk — which comes from an observation by Francis Bacon about his «tightrope walk between what is called figurative painting and abstraction&raq
Walk — which comes from an observation by Francis Bacon about his «
tightrope walk between what is called figurative painting and abstractio
tightrope walk between what is called figurative painting and abstraction&raq
walk between what is called figurative painting and abstraction».
Tightrope Walk A large
exhibition of contemporary and modern figurative art, with works by Picasso and Lucian Freud, Alex Katz and Tracey Emin.
Some of my comments and reactions so far may have become overstated and I could be
walking a
tightrope above a chasm of «artspeak» indulgence, but a selected example from Loesch's Merge Visible series would certainly fit well with the premises of the «Painting After Technology»
exhibition at Tate Britain, and a larger survey in the future surely would have to include something from Loesch's studio.