Press

"Review praises the range and emotional force of Rego’s drawings, studies and late self-portrait, noting political and personal intensity."

"Review finds the iPad paintings underwhelming but cheerful, emphasising Hockney’s continued curiosity and productivity."

"Review admires Stubbs but criticises the display as too small for an artist of such radical intelligence."

"Mixed review: the 90-metre iPad frieze is ambitious but less convincing in the gallery than on screen."

"Sceptical review arguing the show depends heavily on the viewer’s investment in Emin’s confessional persona and self-exposure."

"Positive review calling it a rich look at a post-colonial art explosion, while noting that the show’s breadth can overwhelm."

"When Arnie Glimcher first walked into Paul Thek's studio in 1965, he was taken aback by three meat sculptures on his work table. 'I knew they were wax but I could almost smell the meat,' the Pace Gallery founder tells Wallpaper*. Glimcher's initial olfactory response to Thek's category-defying work had eventually led to the artist's second solo exhibition in his then-burgeoning career. Six decades later, the gallery presents its second solo show dedicated to Thek, who enjoyed one of the most singular artistic journeys of the 20th century."

"For years, Yinka Ilori has been described as an artist of joy. The phrase follows him almost everywhere. It appears in reviews, interviews and introductions, attached to the vivid colours and communal spirit that have come to define his public commissions and design projects around the world. Yet standing inside 'Joy Through Resistance: He Who Laughs Last, Laughs Best', his first solo gallery exhibition in London, it becomes clear that Ilori is asking a different question altogether. Not what joy looks like but where it comes from."

"'The way I work is by preparing myself to relinquish a lot of control,' says Anne Imhof. 'The piece is often a performance, and it is in spaces where the audience can walk freely and leave or stay however they please. In taking their own angle or direction on the scene, they almost make their own edit, so there's a lot of possibilities that I think through before the piece is staged, but it's not necessarily rehearsed. But there is this magical moment in all of our minds, the moment where the audience comes in, and this transfer of energy is really palpable. I like it.' Imhof, a German visual artist based between New York and Berlin, works across an eclectic prism of mediums, from performance to sculpture, music, painting, choreography and installation."

"At certain times of the day, slats of golden light would drift across the wall upstairs in the Camden Art Centre, projecting the ephemeral outline of the gallery's windows across a silver-plated window to nowhere: Nat Faulkner's Analogue (Window) (all works 2026). The piece is a frottage that Faulkner made in his studio in North Greenwich, London; it is an intimate partial portrait of the interior of that space. To make the works in his "Analogue" series, 2025–, he places thin copper sheets against the floor (Analogue [Studio floor]), the walls (Analogue II [Corridor)]), and the windows, pressing them until all the intricacies, crevices, dips, flaws, and specificities are compressed into a one-to-one sculpted image."

"'People don't know this side of me. I want them to see that this came from a passionate place, in an attempt to try to get somewhere with it,' says Jack White, walking me round his first London exhibition, These Thoughts May Disappear, the day before it opens at Damien Hirst's Newport Street Gallery. Upon first thought, it is perhaps an unexpected move from White, better known as a musician and frontman of bands including The White Stripes and The Raconteurs and founder of Third Man Records. Yet, even a cursory glance into White's background reveals a creative polymath who has always worked across multiple disciplines, interested in those hazy spaces where music, art and design begin to blur."

"This week, the fascinating post-pop paintings of Andrew Heard will be exhibited in the UK for the first time in over 30 years. In the 1980s and early 1990s the Hertford-born artist was a well-regarded figure whose work sold especially well in continental Europe. He shared a Shoreditch studio with David Robilliard, an equally revered artist and poet who also had an impish iconoclasm, and was often perceived as a protégé of Gilbert & George."

"Francisco de Zurbarán was a "genius" of the Spanish baroque, said Laura Cumming in The Observer. Zurbarán (1598-1664) "comes between El Greco and Velázquez"; he is "as wild as the former, as profound as the latter". Based mainly in Seville at the moment of the city's greatest prosperity, he was lauded for his "electrifying" paintings of religious subjects, "hyper-real" down to the last fold of cloth and "pinprick of congealing blood", and for his "radiant still lifes"."

"Spring is in full swing and the new exhibition at the Ashmolean Museum in Oxford, "In Bloom: How Plants Changed our World", has been perfectly timed for the season, said Tim Adams in The Observer. It's "a celebration of the ways that plants have sprouted and unfurled in our artistic and scientific imaginations". With a series of artworks and other items sourced largely from the collections of Oxford University – from 17th-century flower paintings to preserved plant specimens to works of contemporary art – it also provides a potted history of this country's horticulture."

"Guardian week-in-art listing highlights Grosse’s sprawling technicolor installations and paintings; recommendation rather than full review."

"Positive review emphasising spiritual and theatrical intensity."

"The Curve is a long, narrow gallery built around the Barbican Centre's concert hall, echoing the fanning shape of the structure. It's a fitting venue for "Inside, Before They Speak," the first institutional presentation in the UK of German American artist Julia Phillips, whose sculptures often begin with ceramic impressions of herself. She molds sheets of clay over discrete body parts—her thigh, her back, her toes—and then combines these fragments with industrial materials such as steel rods, PVC tubes, and wire ropes."

"Strongly positive review praising mystical realism and painterly drama."

"The Times praises the exhibition as sumptuous, strange and masterfully curated."

"More mixed review describing the show as demanding and severe, though lifted by stunning still lifes."

"Guardian week-in-art listing recommends the show as a return by the master of giant, building-sized paintings."

""If you didn't know that David Hockney was 88, you might think he was in his prime," said Alastair Sooke in The Telegraph. The veteran artist has lately been producing and exhibiting work at a prodigious rate, and less than a year after his "colossal" retrospective in Paris, he has returned to the UK for a "magical, moving" exhibition, "A Year in Normandie and Some Other Thoughts about Painting", at London's Serpentine North Gallery."

"Review describes Brown’s first major UK institutional show as immersive, layered and built around abstraction, figuration and memory."

"Telegraph review notes a cool, introspective quality in Anderson’s paintings and feelings of estrangement."

"The Times praises Anderson’s Barbershop paintings as unmissable but describes the retrospective as uneven and sparsely installed."

"FT profile/review-style article frames Picture Making as a major homecoming for Brown and an evolution of her expressive painting."

"Guardian interview/preview covers Brown ahead of Picture Making; included as review-adjacent press, not a scored review."

"FT is positive, describing the seasonal frieze as a thrilling hymn to the seasons."

"The Times calls the show immersive and emotionally intensifying, possibly a late-career swansong."

"The Times argues Stubbs was no one-trick pony, highlighting anatomical and psychological command."

"FT review presents the show as powerful but questions the limits of Emin’s confessional mode."

"FT praises González’s coded political art and anti-authoritarian visual language."

"Mixed review praising My Bed but criticising the wider retrospective."

"Emotional review focused on vulnerability and autobiographical intensity."

"Review praises the retrospective’s political power and emotional force."

"Feature/review-style article on Wright’s candlelit scenes, Enlightenment subjects and moral drama."

"FT describes the show as one of Tate Modern’s most revelatory recent exhibitions."

"Review calls the exhibition ambitious and historically rich."

"The Times calls the exhibition a rich, fascinating whirlwind and a thoughtful primer on Nigerian artists from the 1920s to the 1990s."