Galleries - April 2014

38 GALLERIES APRIL 2014 MAP 22 LONDON BLOOMSBURY & FITZROVIA a ABBOTT & HOLDER 30 Museum Street, WC1A 1LH Watercolours, Drawings, Oils & Prints 1750–Present. For ‘Lists’ (catalogues) introducing new stock on the first Wednesday of every month visit: www.abbottandholder.co.uk gallery@abbottandholder.co.uk t020 7637 3981 b ADAM GALLERY - LONDON 67 Mortimer Street, W1W 7SE Eduardo Chillida: Graphic Works. Apr 1–25. Collection of Graphic Works by this internationally renowned Basque artist. Mon–Fri 10–6, Sat11–3 info@adamgallery.com www.adamgallery.com t020 7580 4360 c AUSTIN/DESMOND FINE ART Pied Bull Yard, 68/69Great Russell Street, WC1B 3BN Specialist in Modern British, International and Contemporary Art. Viennese Season: Actionism. Until Apr 4. Examines, in collaboration with Richard Saltoun Gallery, this sensational movement born out of expressive action painting in Vienna in the late 1950s, focusing on the work of Günter Brus, Otto Mühl, Hermann Nitsch and Rudolf Schwarzkogler. Mon–Fri 10.30–5.30 gallery@austindesmond.com www.austindesmond.com t020 7242 4443 f 020 7404 4480 d CONTEMPORARY CERAMICS CENTRE 63 Great Russell Street, WC1B 3BF Tony Laverick – Fired Alchemy. Mar 27–Apr 26. Through a combination of human judgment and specialist technique, Tony Laverick achieves layers of interest with colour and texture and creates beautiful porcelain vessels. Modern age alchemy and art in harmony. Mon–Sat10.30–6 info@cpaceramics.com www.cpaceramics.com t020 7242 9644 e DÉBUT ART & THE CONINGSBY GALLERY 30 Tottenham Street, W1T 4RJ Fireworks for Dead Men. Mar 24–Apr 4. New works by renowned illustrator Joe Wilson, influenced by the ideas and practice of Memento Mori. Euphoric Trumps. Apr 22–May 3. Exhibition of Anglo-Mexican influenced computer generated characters by leading artist CraigRobinson. 9–6 weekdays info@coningsbygallery.com www.debutart.com www.coningsbygallery.com t020 7636 7478 f GALLERY DIFFERENT 14 Percy Street, Fitzrovia, W1T 1DR In Parallel: Painting by Paul Lisak and photography by Noushin Ourmazd exploring themes of identity in Iran and OL D G LO U C E ST ER S T OR M OND ST GU I L FORD ST R EET G T S T J A M E S S T R E D L I O N B E D F O R D S Q U A R E BED FO RD P L BLO O MSBURY M U SE U M LIN CO L N' S I N N K IN G S W BE RN ER S S T N E W M A N S T R E E T OX FORD ST R EET N E W OX F ORD ST R E ET HO LB O RN WI ND MI L L CH E N IES B Y N G P L A C E EDFORD WAY S Q UA RE RU SS ELL M ONT A GU E S T R EET MA L ET S T REET S T O R E S T MA P L E ST R E ET WH IT FI E LD STRE E T HOWLAND ST G RA F TO N WAY T O T T E N HA M M ORTIMER S T G OO D GE S T R A T H B O N E P L C L E V E L A N D S T GT. TITCHFIELD S T G RE AT R US SEL L S T TOTTE N HAM C OURT R O A D G OWE R STREET M ON TAGUE P L S OUTHAMP TO N R O W T H E O B A L D S R O A D L A M B'S C O N D U I T S T RE D LION ST ST R OW BRITISH MUSEUM UNIVERSITY OF LONDON G R T . ST BEDFORD SQUARE S T W A Y EA S T C AS TLE ST P ORT L A ND P L R E G E N T S T LD GLO U C E STE R ST GT OR M ON D ST B E D F O R D R O W R B E DF O RD PL E M I L 'S IN FI E L D S WI N D MIL L HE N I ES ST T O T HA M ST ST SQ U AR E U E L M O T A G UE STRE ET ST R S N D ST M O N T AG UE PL G RE A T RUS ELL ST GUILFORD STREET G T S T J A M S O R Y N S B E R N ER S ST N E W M A N S T Y E D F O R D W A Y MAL ET STR EE T E T W HI TFIELD S T R EET A W A Y M O I R ST O S C H A R L O T T E S T G ER STREET LACE SOUTHAMPTON ROW T H E O B A L D S R O A D L A M B'S C O ND IT S R I O N ST CLEVELAND STREET G T. TITCHFIELD ST G REAT PORTLAND ST R EET O FORD S TRE ET NE W OXFO R D STRE E T HOLBOR N TO TTE N HA M CO U R T R O AD E U S Tottenham Court Rd Russell Sq Holborn Goodge St a g d j c f e b h i h David Storey ‘The Conversation’ Twenty years or so ago David Storey came across a photograph of a husband and wife frozen in a moment of awkwardness and became fascinated by the atmosphere of ‘uneasy tranquillity’ it exuded. It seems to have been what got him painting again after a long period, following art school, in the music business where he ended up being art director at Chrysalis Records. Indeed it has been such passing glances and half-remembered scenes that have become the raw material of his art and, along with memories of childhood, have formed the basis of a narrative art which is nonetheless always sufficiently painterly to overcome the lurking dangers of illustration. They work as paintings, in short, and in a way not unlike Hopper – enigmatic and timeless. ( Thomas & Paul , map 21). NU THUMB nails