For this year’s Frieze London, The Approach will present a curated selection of paintings alongside works that explore different painterly concerns across media and generations.
The stand will feature two new collaborations: New York based artist, Caitlin Keogh (b. 1982, Anchorage), whose large-scale paintings reconsider art history through a feminist lens; and recent RCA graduate Hun Kyu Kim (b. 1986, Seoul), who employs a personal and political take on traditional Korean silk painting to depict complex satirical allegories of barbarism hidden behind the affluences of contemporary society.
These works will be shown next to a selection of works by more familiar Approach artists such as Phillip Allen (b. 1967, London), a painters’ painter, whose work was recently described for being “as hectically distracting as the world we live in, but as substantial as the ground we stand on,” (Declan Long, Artforum, May 2017). Other artists whose work is prominently embedded within the history of painting and its capacity for self-referencing, include Allison Katz (b. 1980, Montreal), Helene Appel (b. 1976, Karlsruhe), Peter Davies (b. 1970, Edinburgh), and Rezi van Lankveld (b. 1973, Almelo). Also included will be a never before shown landscape painting on salvaged plywood by Bill Lynch (b. 1960, New Mexico, d. 2013), preceding the solo show at the gallery in November 2017.
The stand also includes works by Sam Windett (b. 1977, Kent), whose solo show Motorway IV will be held concurrently at the gallery during Frieze. Paintings which reference abstract memories of travel and time involving multiple layers of paint, charcoal and textured marks combining torn and cut paper intertwine, evoke broken landscapes caught in a hinterland between abstraction, narrative and representation.
These more established practices within painting will been seen alongside works which explore painterly concerns through media other than board or canvas. Including Sara Barker (b. 1980, Manchester), whose debut exhibition opened at The Approach earlier this year. Barker applies automotive and oil paint onto a range of metal, fabric and cast surfaces with additional aluminium rods protruding as the representation breaks free from the flat plane. The hackneyed image of ‘artist at work’ portrayed by the ubiquitous paint-flecked smock, has been amplified by Amanda Ross-Ho (b. 1975, Chicago) in her surreal oversized t-shirt, re-presenting the natural detritus generated by the creative process as an artwork in itself. John Stezaker (b.1949, Worcester), renowned for his collages, cuts reproductions of Joan Miró’s lesser known ‘burnt’ paintings from catalogues and collages them with his trademark black and white found film stills, creating strange and disquieting dreamlike new narratives.
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