REVIEWS

/ Glasgow
View of Martino Gamper's "Middle Chair," Pollok House, Pollok Country Park, Glasgow, 2017.
by

Francis McKee

The marriage of Italian designer Martino Gamper and Pollok House in Glasgow, set up by The Modern Institute, is a perfect match. Originally the ancestral home of the Stirling-Maxwell baronetcy, the house was built in 1752 and is run now by the National Trust as a public museum. Much of... continue reading
Glasgow International

MULTIPLE VENUES, Glasgow

View of Tamara Henderson's "Seasons End," Mitchell Library.
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Kirsty Bell

That only 6 of the 75 locations numbered on Glasgow International’s essential city map are host to the “Director’s Programme” says something of the generous weave of the “official” and the “collateral” here, doing away with the two-tiered hierarchies usual in such events. Instead, a loose net is cast around... continue reading
View of Jack Smith, “Theater and Performance Works,” The Modern Institute, Glasgow, 2015.
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Francis McKee

Jack Smith (1932–1989) embodied a certain kind of New York—a chaotic, unpredictable, and unregulated city where creativity thrived amidst squalor and raw energy. Smith’s performances (from 1969 onwards) often took place in domestic spaces tipped towards catastrophe by his accretions of junk and debris, and by his regular assertions of... continue reading
“Sea Salt and Cross Passes”

THE MODERN INSTITUTE, Glasgow

View of “Sea Salt and Cross Passes,” The Modern Institute, Glasgow, 2013.
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Jaclyn Arndt

Positioned like sentries on either side of the North Sea as it collides with the Atlantic Ocean, Norway and Scotland have long been held under the sway of this most frigid body of water. Crane-filled shipyards, woolen fisherman’s sweaters, mythical horned Viking helmets, and—as the exhibition “Sea Salt and Cross... continue reading

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