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The Art Newspaper – Three to See

Hockney-Edward-Lear-web

 

Do Ho Suh develops notions of dislocation and transience in a show of new fabric sculptures at Victoria Miro gallery (Passages/s, until 18 March). The exhibition centres on Hubs, a series of fabric pieces that Suh describes as “in-between spaces, from the bedroom to the kitchen, for instance”. But there is a departure in the show: Suh also shows a series of large-scale drawings that compress architectural features such as a staircase and a gate. “These elements are sewn into gelatin tissue that dissolve once they’re immersed in water. So some parts are drawn out, and look almost 3D. The works are in between 2D and 3D as such. Again, it’s about playing with space, and transporting it, just like I’ve done with the fabrics and rubbings.” The drawings were made during a residency at the Singapore Tyler Print Institute.

Just a few months shy of his 80th birthday, the British artist David Hockney and his early etchings are the focus of a show in London that coincides with his much-anticipated retrospective at Tate Britain (9 February-29 May). The Complete Early Etchings 1961-64 at Hazlitt Holland-Hibbert (until 10 March) charts the rise of Hockney during his formative years whilst he finished his formal education at the Royal College of Art (RCA), began a professional career and won an art-prize trip to America; a country that became a lifelong reoccurring theme in his work. The show has several previously unseen works from private collections, a generously loaned self-portrait from Tate and a number of later paintings alongside the black, white and red etchings that elucidate the early career of an artist who candidly refuses to talk about it…

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Image: David Hockney ‘Edward Lear’ Etching and aquatint, 1964.