William Davie is a writer based in London who regularly contributes to Aesthetica Magazine, Ambit Magazine, and This is Tomorrow, where he also serves as editor.
Any initial humor found in the absurdity of these two hyper-sexualized scenes, perhaps especially for straight male audiences, quickly gives way to uneasiness and introspection, resulting in a sudden and powerful realization that the only way systematic change can begin is from within the viewer.
If curators Jonathan Benington and Brendan Rooney are right and it is time for a re-evaluation of Roderic O’Conor’s oeuvre, then the case they put forward in Roderic O’Conor and the Moderns: Between Paris and Pont-Aven, on view at the National Gallery of Ireland in Dublin, is certainly a captivating one–but not entirely without its pitfalls.
Before Ikon Galleys exhibition The AerodromeAn exhibition dedicated to the memory of Michael Stanley, Stanleys contributions to the British arts scene were often spoken of in contemplative tones as a result of his suicide at the age of 37.
The uniquely compelling factor, which keeps the viewer in front of the works, is their lack of answers. In these paintings, more so than in any previous body of work, Doig directs the oneiric overtones from the present rather than from memory.