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Dialogue - Review
Border Farm at the South London Gallery
Two reviews of the SLG's screening of the Thenjiwe Nkosi's docudrama on a group of Zimbabwean "border jumpers"
Posted: Mar 15 2011 | More...
Dialogue - Review
Martin Creed's latest show at Hauser & Wirth's Savile Row galleries
Posted: Feb 18 2011 | More...
Dialogue - Review
A show of three young artists that display strong narratives in their work, showing until 12 March 2011
Posted: Feb 01 2011 | More...
Dialogue - Review
Unheralded Stories at Purdy Hicks
Tom Hunter's solo show at Purdy Hicks gallery on the Southbank, running until January 15th 2011
Posted: Dec 14 2010 | More...
Dialogue - Preview
Our last preview of the year sees openings at LIMA ZULU, Flowers, John Martin, Hive and last chances this...
Posted: Dec 13 2010 | More...
Dialogue - Preview
Openings at Pilar Corrias, Josh Lilley, Space in Between and talks at Gasworks, Paradise Row, and the RCA
Posted: Dec 06 2010 | More...
Dialogue - Review
Bloomberg New Contemporaries 2010 at ICA
The old lady of 'new artist' awards returns to the ICA this year with outstanding film and video...
Posted: Dec 03 2010 | More...
Dialogue - Review
Zigelbaum + Coelho at Riflemaker
Riflemaker exhibits the Miami Basel Designers of the Future award-winners, running until 31 March
Posted: Dec 01 2010 | More...
Dialogue - Review
Seventeen's latest exhibition, 'a show with Tourette's', which is open until 23rd December 2010
Posted: Nov 27 2010 | More...
Dialogue - Review
Newspeak part II at The Saatchi Gallery
The second part of The Saatchi Gallery's blockbuster new British art show showing in London
Posted: Nov 25 2010 | More...
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art advisory - looking for something specific or help in finding work by early career artists. contact info@murmurart.com
Donald Eastwood
Yesterday we all went across town to Deptford to visit the painter Carla Busuttil in her new studio. We first saw her paintings at the RA schools show last month, under the distracting preconception of knowing Saatchi had bought all thirteen of her displayed works, but left highly impressed.
Those we saw in show were thickly laid oil on canvas, portraits in flag-like colours using caricature and traditional african styles - flat rows of beady teeth and staring painted eyes. The subjects were infamous world figures - there was a fresh and shiny Berlesconi up in the studio when we arrived ("his face is like orange plastic"). He shared a studio wall with three postcard-sized painted sketches and several medal ribbons. On the other side were differently themed pictures, including a large canvas of a professional mourner hunching his heavy shoulders over a hidden face.
Saatchi-dom and the RA have drawn obvious attention, but her plans are admirably independant. She has never even spoken to Saatchi, and has passed the control of private galleries in favour of her own show, organised with a handful of creative friends, in November, for which she is already preparing.
"Why do you choose such negative subjects?" We asked finally. "They are more interesting," she replied, which is certainly true. Perhaps we are just a generation that likes hating.