REVIEWS

/ ISOBEL HARBISON
Ackroyd and Harvey, Vester Allé 7, 2017.
by

Isobel Harbison

The inaugural ARoS Triennial, “The Garden—End of Times; Beginning of Times,” opened in Aarhus, 2017’s European Capital of Culture, on the morning that Donald Trump stood in the White House garden and announced his plans to withdraw the US from the Paris Agreement. ARoS’s director, Erlend Høyersten, promises that this... continue reading
Sam Lewitt, A Weak Local Lexicon (MHTL), 2016.
by

Isobel Harbison

I walked straight past the entrance to Pilar Corrias’s gallery. The lights are off and inside it’s dark and quiet. The only work on the ground floor is Sam Lewitt’s A Weak Local Lexicon (MHTL) (2016), an unlit installation which converts the charge from the light source, powered from a... continue reading
View of Michael Ross' "Selected Works 1991-2015," Ellis King, Dublin.
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Isobel Harbison

Siera Hyte’s “The Sometimes Hour”—an installation of carefully corroded objects and scratched or tampered images at Ellis King gallery, Dublin—has the air of a murder mystery. Hyte’s is one of two solo exhibitions running simultaneously in the space, the other a retrospective of the American artist Michael Ross, whose confounding... continue reading
View of Isabel Nolan’s “Bent Knees are a Give,” Kerlin Gallery, Dublin, 2015.
by

Isobel Harbison

From bended knee comes Isabel Nolan’s most recent body of work. At Dublin’s Kerlin Gallery, this position between seating and standing is suggested in various depictions of John Donne, Lucretia, and Saint Jerome, in a polystyrene sculpture of a seated lion, and in a series of flags hung from bent... continue reading

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Vitamin creative space
P420
Art Newspaper
sp-arte
The Third Line
Kaleidoscope
Michael Kon
Anton Kern Gallery
Brooklyn Rail
Luisa Strina
The breeder
Friedrich Petzel
ArtAsiaPacific