Catherine Goodman @ Hauser & Wirth, NYC - 'Island' Exhibition

Catherine Goodman. Island 

Hauser & Wirth, New York

13 November – 20 December 2025 

Catherine Goodman

The ULAE Series, 2024

Monotype on Somerset paper

64.8 x 73.7 cm / 25 1/2 x 29 in

Photo: Sarah Muehlbauer

© Catherine Goodman

Courtesy the artist and Hauser & Wirth

Catherine Goodman at the ULAE Studio, November 2024

Photo: Jin Young Kim

© Catherine Goodman

Courtesy the artist and Hauser & Wirth

Hauser & Wirth presents its first exhibition dedicated to the prints of noted British artist Catherine Goodman. This body of monotypes named ‘The ULAE Series’ emerged from Goodman’s 2024 residency at Universal Limited Art Editions (ULAE) on Long Island, marking both her first major exploration of printmaking and an expansion of her aesthetic vocabulary. ‘Much of the new language that was evolving in the prints followed me home to the studio in London and was translated into paint,’ she wrote in reflection of the experience—a cross-pollination made visible in a new painting developed from this period, also on view in this exhibition.

Catherine Goodman joins a distinguished lineage of modern and contemporary artists who have expanded their practices through printmaking at ULAE. Among them, Grace Hartigan and Helen Frankenthaler stand out in particular as kindred spirits—artists who, like Goodman, were devoted passionately to daily drawing and guided by instinct. At ULAE, Catherine Goodman immersed herself in the unpredictable process of painting on and printing from copper plates. Working intuitively, she built up highly expressive, densely layered compositions, often laying down a black or grey calligraphic mark as starting point. Catherine Goodman sometimes carried works in progress home in the evening to adjust with an oil stick, forging an unorthodox dialogue between mediums. 

‘Almost everyone I knew in the world was asleep because of the time difference to London, so I spent the evenings alone, drawing into the prints that hadn’t worked out for me that day. It was an extraordinarily intense time navigating my inner landscape, having an opportunity to review my life back home. It seems a time of innocence now.’ — Catherine Goodman

Catherine Goodman

The ULAE Series, 2024

Monotype on En Tout Cas paper

64.8 x 73.7 cm / 25 1/2 x 29 in

Photo: Sarah Muehlbauer

© Catherine Goodman

Courtesy the artist and Hauser & Wirth

Catherine Goodman

The ULAE Series, 2024

Monotype on En Tout Cas paper

81.3 x 91.4 cm / 32 x 36 in

Photo: Thomas Barratt

© Catherine Goodman

Courtesy the artist and Hauser & Wirth

Catherine Goodman has long centered her practice on portraiture. Religious icons from her childhood left an early mark, and she often mentions seeing portraits even within her abstractions. This oscillation between figuration and abstraction—a constant in ‘The ULAE Series’—relies in part on the artist’s longstanding daily drawing practice, which she cites as the initial means of harnessing her sources of inspiration, which range from natural phenomena to film. One work on view in the exhibition depicts the titular boy from Andrei Tarkovsky’s movie ‘Ivan’s Childhood,’ gazing through a telescope, a dramatic yet intimate image. 

Each work, Catherine Goodman writes, whether figurative or abstract, is ‘layered with those memories of my time there, the light, urgency and sense of isolation—being cut off from the mainland of our lives while exploring the inner landscape.’ 

Artist Catherine Goodman

Born in London in 1961, Catherine Goodman CBE lives and works in London. Goodman studied at Camberwell School of Arts & Crafts, London, and the Royal Academy Schools, London, where she won the Royal Academy Gold Medal in 1987. Goodman’s lifelong commitment to social justice through education forms a critical aspect of her artistic identity and approach to making. In 2000, Goodman established The Royal Drawing School with HM King Charles III to deliver subsidized and free education to thousands of young and disadvantaged people in the UK. Today, she continues in her role as Founding Artistic Director and Academic Board Member. For many years, Catherine Goodman organized drawing classes for individuals dealing with homelessness and disabilities, and she continues to offer refuge classes to young people with mental health issues on a weekly basis. She is also the primary caregiver of her sister, Sophie, who was born with multiple health conditions and has always been a subject of Goodman’s practice. In 2014, Goodman was awarded Lieutenant of the Royal Victorian Order (LVO) for services to The Royal Drawing School, and Commander of the Order of British Empire (CBE) in 2024 for her services to art in the UK. Goodman has served as the Artist Trustee at The National Gallery, London since 2019. Her paintings are held in significant private and public collections including the National Portrait Gallery, the Fitzwilliam Museum, Cambridge, The Rothschild Foundation, and the Royal Collection Trust.

HAUSER & WIRTH

443 West 18th Street, New York City

www.hauserwirth.com

Magdalene Odundo @ Xavier Hufkens, Brussels - Ceramic Vessels and a Large-Scale Glass Installation

Magdalene Odundo

Xavier Hufkens, Brussels

13 November 2025 —​ 24 January 2026

Xavier Hufkens presents Kenyan-born British artist Magdalene Odundo’s first exhibition at the gallery. Featuring a new body of ceramic vessels and the large-scale glass installation Transition II (2014), the exhibition showcases the two central disciplines that shape her artistic practice.

At the heart of the exhibition is a recent series of ceramic vessels, a form that has been a cornerstone of Odundo’s practice for nearly five decades. These vessels, refined in shape and rich in symbolism, draw inspiration from a wide array of global ceramic traditions—African, European, Asian, and Indigenous American – as by the human body, which Magdalene Odundo likewise regards as a vessel. Her work carries a distinct anthropomorphic presence: gestures, physical states and bodily movements often serve as starting points for a vessel’s form, silhouette, proportion or balance. As one of the oldest and most universal of human-made objects, vessels transcend time, geography and culture. Moreover, they are rich with dualities: inside and outside, fullness and emptiness, fragility and strength. These oppositions echo the deeper conceptual themes in the artist’s oeuvre, such as transition, identity and cultural hybridity. For Magdalene Odundo, the vessel is more than a physical object. It is an archetypal and elemental form through which to articulate relationships – between materials, histories, cultures and individuals.

The making of each vessel is a laborious and intensely physical act. Working alone, Magdalene Odundo hand-builds her vessels using coiling techniques before meticulously burnishing their surfaces. The distinctive colours – typically deep terracotta and lustrous black – emerge from a controlled firing process. This slow, embodied method underscores the intimate relationship between maker and material. In Odundo’s practice, the vessel is not a static object, but a living entity. Left unglazed, the works retain a subtle porosity, enhancing their sense of life and allowing them, quite literally, to "breathe."

Also on view is Transition II (2014), a large-scale installation comprising 1001 suspended glass vessels. Each vessel is individually mouth-blown yet they are united by a formal coherence that balances repetition and variation. In contrast to Odundo’s ceramic practice, which is a solitary activity, glass-blowing is a collective endeavour. The vessels in Transition II are inspired by an ancient Egyptian glass earplug in the Petrie Museum in London, a reflection of Odundo’s ongoing engagement with historical forms and cross-cultural material references. The resulting objects appear to hover in space: weightless and precarious; they are ‘hanging by a thread’. Glass, like clay, is an ancient and elemental medium, both ubiquitous and fragile, that is transformed by fire. In a phenomenon known as the ‘melt memory effect’, it retains information about its previous crystalline structure, even after heating above its glass transition temperature. These qualities are central to Transition II, and resonate with broader themes in Odundo’s practice.

The installation draws visual and conceptual parallels with a murmuration – a phenomenon in which large flocks of starlings move in coordinated, shape-shifting formations. Within this work, each glass shape maintains its singularity while simultaneously contributing to an energetic, collective rhythm. In an era increasingly marked by fragmentation and estrangement, Transition II speaks of gathering and mutual recognition, whereby uniqueness and difference contribute to a dynamic whole.

Magdalene A N Odundo (b. 1950) received her initial training as a graphic artist in Kenya before moving to the UK in 1971. She studied at the Cambridge School of Art (now Anglia Ruskin University), the University for the Creative Arts and the Royal College of Art. In 2018, Magdalene Odundo was appointed Chancellor of the University for Creative Arts (UCA) and was made a Dame in the Queen’s New Year Honours list in 2020. She has been the subject of major solo exhibitions at Houghton Hall, Norfolk, England (2024); the Gardiner Museum, Toronto, Canada (2023-2024); The Hepworth Wakefield, Wakefield, England and Sainsbury Centre, Norwich, England (2019); The High Museum of Art, Atlanta GA, USA (2017); British Council, Nairobi, Kenya (2005); Blackwell House, Bowness-on-Windermere, England (2001); The National Museum of African Art, Smithsonian, Washington D.C., USA (1995); Stedelijk Museum Voor Hedendaagse Kunst, s’Hertogenbosch, Netherlands (1994); Museum für Kunst und Gewerbe, Hamburg, Germany; and Badisches Landesmuseum, Karlsruhe, Germany (1992).

XAVIER HUFKENS

6 rue St-Georges | St-Jorisstraat, 1050 Brussels

www.xavierhufkens.com

Stuart Pearson Wright @ Flowers Gallery Hong Kong - 'Roadkill' Exhibition of Paintings

Stuart Pearson Wright: Roadkill

Flowers Gallery Hong Kong

28 November 2025 – 3 January, 2026

Stuart Pearson Wright

Roadkill, 2024 

Oil and pigmented gesso on Oak 

23 x 14 cm, 9 x 5 1/2 in

© Stuart Pearson Wright, courtesy of Flowers Gallery

Stuart Pearson Wright

Claire / Clive, 2023 

Oil and pigmented gesso on Oak 

47 x 36 cm, 18 1/2 x 14 1/8 in

© Stuart Pearson Wright, courtesy of Flowers Gallery

Flowers Gallery Hong Kong announces Roadkill, the first solo exhibition in Asia by acclaimed British painter Stuart Pearson Wright. The exhibition presents a new series of portraits created over the last five years, offering a deeply personal and darkly humorous reflection on one of the most challenging chapters in the artist's life.

 

Best known for his psychologically-charged portraiture, Stuart Pearson Wright uses the language of painting to explore the tension between vulnerability, absurdity, and resilience, featuring the artist's renowned embodiment of rich surfaces and fine detail. In this body of work, anthropomorphism becomes a central device: human figures merge with animal traits, everyday objects, and theatrical exaggerations. These hybrid presences serve as both unsettling and comical stand-ins for the human condition.

Humour functions here not merely as an artistic strategy, but as catharsis—providing an irreverent and playful counterweight to themes of grief, isolation, and fragility, which the artist experienced during recent struggles in his personal life. Through distortion, disguise, and surreal imagery, Stuart Pearson Wright captures the paradoxical ways in which comedy emerges from pain, and how imaginative reinvention can be an act of survival.

“These paintings embrace the ridiculous because sometimes laughter feels like the only way out of despair,” says Stuart Pearson Wright. “By reimagining myself and those around me in animal or hybrid forms, I found a form of honesty that was impossible through realism alone.”

The works continue Wright’s longstanding engagement with the traditions of portraiture, but with an increased sense of theatricality and allegory. Drawing on influences from Renaissance portraiture, British satire, and the absurdism of literature and theatre, the paintings situate themselves in a liminal space between sincerity and parody. 

Stuart Pearson Wright (b. 1975, Northampton, UK) is celebrated for his provocative and technically masterful approach to portraiture. A graduate of the Slade School of Fine Art, he has received numerous awards, including the BP Portrait Award in 2001. His works are held in many prestigious collections, including the National Portrait Gallery in London. This exhibition marks his first major presentation in Hong Kong. 

FLOWERS GALLERY HONG KONG

49 Tung Street, Sheung Wan, Hong Kong

www.flowersgallery.com

Lucy Williams: Radiant City Exhibition @ Berggruen Gallery, San Francisco + Book

Lucy Williams

Radiant City

Berggruen Gallery, San Francisco

November 6, 2025 – January 8, 2026

Berggruen Gallery presents Radiant City, an exhibition of new work by London-based artist LUCY WILLIAMS. This exhibition will mark the gallery’s third solo presentation with the artist

Williams’s works are fastidiously engineered to produce uncanny miniature worlds suspended between the second and third dimensions—facades that are simultaneously industrial and tactile. Drawing on modernist buildings and interiors, Lucy Williams redefines collage through intricately crafted mixed-media bas-reliefs. Her sleek, serene scenes of period architecture ripple with texture and aqueous reflections. She simulates the tiled surfaces of swimming pools, the austere facades of Brutalist buildings, and the regimented rows of libraries and bookcases. Painstakingly hand-crafted, Lucy Williams constructs her works in ascending layers of varying materials such as paper, Plexiglas, wood veneer, fabric, piano wire, and thread.

Beginning with a full-scale pencil drawing, Lucy Williams creates a digital copy from which she laser cuts the structural base and hand-cuts colored paper to form curtains, blinds, books, vases, pots, and lampshades. Each piece is laid on top of the drawing until she is ready to collage within a shallow space, adding paper home furnishings as she builds the work. Panels are over-stitched with thread, and a Perspex layer is used to replicate the windows, all of which have been etched and hand-painted to add further detail. Of her process, she says: “You have to give it as much time as possible, it’s really important, because in time is the transformation.”

Through embroidery and a warm tonal palette, Williams’s work exploits the tension between the humane, intimate spaces she produces and the hard-edge geometric buildings she references. The perceived depth and inherent flatness of the work occupy the liminal space between painting and sculpture. “Her work resonates with the textures and geometries of Anni Albers and Jean Arp, Alexander Calder and Ruth Asawa—not just in their forms, but in the energy, dedication, and intentionality they brought to their work,” said Joseph Becker, Curator of Architecture and Design at the San Francisco Museum of Modern Art.

The exhibition title Radiant City comes from Le Corbusier's unrealized architectural proposal for a utopian megalopolis that would seamlessly integrate humankind with nature and the technological innovations of the twentieth century. The concrete apartments—composed of modular units, imposing towers, and symmetry—were conceived to address urgent housing needs and to use modern architecture as a tool for societal reform. While Radiant City itself was never realized, its principles came to life in the Unité d’Habitation in Marseille. The patchwork play of color and light across the façade of what might otherwise have been a monotonous expanse resulted in one of modern architecture's most iconic designs. In Radiant City, Lucy Williams captures the delicate balance of materiality, shape, and color that made Unité d’Habitation so visually resonant. She does this through multiple iterations, probing the tension between social egalitarianism and a dehumanizing uniformity.

Radiant City features both representational and abstract works by Lucy Williams. During the pandemic, she began experimenting with non-representational compositions to explore the rhythmic, repetitive visual qualities of form. This experimentation allowed her to develop new threading techniques, which she then brought into her representational works, along with miniature versions of the abstractions themselves. “Slate, aubergine and rose triangles float over vertical threads of different colours and thicknesses, adding a lyrical stringed element to the already dynamic forms. In these, Lucy Williams controls space like the modernists Naum Gabo and Barbara Hepworth before her,” said art critic Charlotte Mullins. Though the figure never appears in her work, one need only view it in person to experience the narrative power of her spaces—how they draw the viewer in, both baffled by their fabrication and longing to occupy their meditative worlds.

Lucy Williams was born in Oxford, England, in 1972. She earned her Bachelor of Arts in Fine Art from Glasgow School of Art in 1996 and her Postgraduate Diploma in Fine Art from Royal Academy Schools in 2003. The artist has since exhibited her work internationally, with solo shows including Pavilion at Timothy Taylor Gallery, London (2012), Festival at McKee Gallery, New York (2014) and Pools at Berggruen Gallery, San Francisco (2017). Lucy Williams’s work has also been represented in major group exhibitions, such as Painting the Glass House: Artists Revisit Modern Architecture at The Aldrich Contemporary Art Museum, Connecticut (2008), After curated by Marjolaine Levy at Galerie Mitterand, Paris (2013), and Cut & Paste | 400 Years of Collage at the National Galleries of Scotland, Edinburgh (2019). Lucy Williams currently lives and works in London.

Lucy Williams – Radiant City

By Lucy Williams

Contributions by Ben Street, Salena Barry, Kathryn Lloyd 

and Charlotte Mullins / Edited by Matt Price / 

Foreword by Joseph Becker

Published by Hurtwood Press Ltd 

Distributed by Simon & Schuster

Book Cover courtesy of  Simon & Schuster

264 pages featuring 160 illustrations (colour and black & white)

Hardback, 290 x 245 mm portrait

Available at Berggruen Gallery or on its Website

The exhibition coincides with Lucy Williams’s new publication, Radiant City. The gallery will host an artist discussion, moderated by Joseph Becker, Curator of Architecture and Design at SFMOMA, and a book release event at 4:30 p.m. on Thursday, November 6, 2025, followed by an opening reception from 5 to 7 p.m. 

BERGGRUEN GALLERY

10 Hawthorne Street, San Francisco, CA 94105

www.berggruen.com

Recall. Reframe. Respond. The Art of Paul Scott @ Cincinnati Art Museum

Recall. Reframe. Respond. The Art of Paul Scott 

Cincinnati Art Museum

October 10, 2025 – January 4, 2026

Ceramic tableware with intricate blue patterning has been a staple in dining room décor for centuries. Contemporary artist Paul Scott (British, b. 1953) carries this tradition forward, yet his designs are anything but conventional. More than 50 of his works, which present updated narratives about art, history and American experiences, will be on view at the Cincinnati Art Museum (CAM) in the exhibition Recall. Reframe. Respond. The Art of Paul Scott.

Paul Scott breaks, reassembles, erases and adds details to ceramics from the 1800s and 1900s using transfer-printing and collage processes to create new “historical” patterns. In addition to these repurposed antique pieces and the artist’s new ceramic forms, Recall. Reframe. Respond. debuts Scott’s limited-edition letterpress artist book. A selection of his works will be paired with artworks from CAM’s American art collection to “reframe” the way audiences see, experience and reflect on these objects.

“This is not your grandparents’ blue-and-white china,” notes Amy Dehan, the museum’s curator of decorative arts and design. “Paul Scott’s work is subversive in the best way—witty, wry and challenging. It urges us to look critically at dominant narratives while making connections across human experience, places and time.”

Recall. Reframe. Respond. also celebrates local artists and voices, featuring responses to a selection of Scott’s works written by community members. Notably, the exhibition also presents two transferware pieces on which he collaborated with Cincinnati-based artist Terence Hammonds.

Based in the northwest English county of Cumbria, Paul Scott is an artist, author, curator and educator who is best known for his unique ability to employ extensive historical and technical knowledge of ceramics to create provocative artworks and social commentary. During a visit to Ohio State University in 1999, Paul Scott became inspired by historical British-made blue-and-white ceramic transferwares that depicted American scenes, directly engaging American consumers. After his visit, Paul Scott challenged himself to create his own versions that recontextualize the messages embedded within these historical works by focusing on contemporary imagery and subjects. Scott’s New American Scenery series reflects his personal experiences of being and traveling in America, and, in his words, the need to “rebalance the narrative with something more contemporary and inclusive.”

Paul Scott shares: “Industrial transferwares were part of the new media revolution in the late 18th and early 19th centuries. They have always carried images and patterns which have journeyed through media, time, histories and geographies, capturing and changing meanings as they have travelled. Cumbrian Blue(s) contemporary artworks reference these original wares, so I very much enjoy opportunities which allow me to juxtapose my 21st century iterations alongside the historic in visual dialogues that act to re-animate (sometimes forgotten) objects from museum stores. For Recall. Reframe. Respond., I am excited to extend this process to include paintings, prints, photographs and other artworks from Cincinnati Art Museum’s extensive collections, creating new ‘conversations’ and reanimations.”

Over the last three decades, Paul Scott has established an international reputation. His work can be found in public and private collections around the globe including The National Museum of Art, Architecture and Design in Norway, the Victoria and Albert Museum in London and the Smithsonian American Art Museum in Washington, DC.

Transfer-printed ware, or transferware, describes industrially produced ceramic tableware that has a decorative pattern applied by transferring a print first from an engraved copper plate to specialized paper and finally to the ceramic’s surface. This term also applies to modern wares with printed graphic surfaces made using more recent printmaking techniques and decal transfer technologies.

The exhibition will be on view in the Sara M. and Michelle Vance Waddell Gallery and the Manuel and Rhoda Mayerson Gallery (124 and 125) located across from the Terrace Café. Several works will be displayed in other museum galleries, to be in conversation with the collections.

CINCINNATI ART MUSEUM

953 Eden Park Drive, Cincinnati, OH 45202

www.cincinnatiartmuseum.org

Paul McCartney Photographs Exhibition @ Gagosian, London - "Rearview Mirror: Liverpool–London–Paris"

Paul McCartney

Rearview Mirror: Liverpool–London–Paris

Gagosian, London

August 28 – October 4, 2025

Paul McCartney

Self-portrait in my room at the Asher family home, 

Winpole Street, London, December 1963, 2025

© Paul McCartney

Courtesy Gagosian

Gagosian presents Rearview Mirror: Liverpool–London–Paris, an exhibition of photographs by Paul McCartney at the Davies Street gallery in London. The works chronicle Paul McCartney and his fellow Beatles as their reputation spread beyond Liverpool and Hamburg between December 1963 and early February 1964. Each picture was taken with McCartney’s 35mm Pentax camera, acquired in late 1963 around the time that the term “Beatlemania” was coined to describe the unprecedented mass hysteria that followed the band’s every move.

Paul McCartney

Photographers, fans, and officers,

rue de Caumartin, Paris, January 1964, 2025

© Paul McCartney

Courtesy Gagosian

Paul McCartney

John on the Champ-Elysées, 

Paris, 15 January 1964, 2025

© Paul McCartney

Courtesy Gagosian

Seen from McCartney’s perspective as both protagonist and observer, his photographs—a mix of single frames and multi-image works—comprise a singular contribution to the visual record of the 1960s, a culturally and socially transformative decade. Shot with unassuming candor, the works at Davies Street offer an intimate account of the band as they toured across the UK and in Paris in the formative weeks before their debut visit to America. They show the in-between moments tied to key events in The Beatles’ trajectory: their autumn 1963 UK tour, their first as headliners; their appearance on the BBC’s Juke Box Jury, which garnered a record 23 million viewers; The Beatles Christmas Show, which greatly broadened their appeal; and their three-week residency at the Olympia Theatre in Paris, an early proving ground.

An enigmatic self-portrait shows Paul McCartney reflected in the mirror of his attic room—where he dreamed the melody for “Yesterday”—in the London family home of his then-girlfriend, Jane Asher. The group’s camaraderie and cool is captured in atmospheric scenes backstage at the Lewisham Odeon, London Palladium, and Finsbury Park Astoria. Enlarged contact sheets recount in rich detail vignettes marked by an unguardedness that could only have been recorded by one of their own, including the charged moments before the band’s transatlantic flight took off for New York.

Remastered from original negatives and contact sheets thought to have been lost for over half a century, each of the works has been prominently signed by Paul McCartney, issued in a small edition, and framed in a bespoke profile of his design. Rearview Mirror: Liverpool–London–Paris follows McCartney’s debut presentation at the gallery earlier this year at Gagosian Beverly Hills, and coincides with the touring exhibition Paul McCartney Photographs 1963–64: Eyes of the Storm, which opened at the National Portrait Gallery in London in 2023 and which is currently on view at the de Young, Fine Arts Museums of San Francisco, through October 

Paul McCartney was born in Liverpool, England, in 1942. Passionate about art from a young age, he became attuned to the medium of photography as a teenager upon seeing the pictures published in the sports section of the Observer, as well as those taken by his younger brother, Michael. This was reinforced when The Beatles, during their time in Hamburg, Germany, befriended the photographers Astrid Kirchherr and Jürgen Vollmer, who were influential in helping the group form a distinct visual identity. In the mid-1960s Paul McCartney encountered the British avant-garde through John Dunbar, a cofounder of Indica Books and Gallery, and gallerist Robert Fraser, who introduced Paul McCartney to Andy Warhol, Claes Oldenberg, Peter Blake, and Richard Hamilton—the latter two artists invited by McCartney to design Beatles album covers that became instantly iconic. In the early 1980s, inspired by a discussion with Willem de Kooning, Paul McCartney took up painting, exhibiting his work at the Arnolfini Gallery, Bristol, in 2000, and at the Walker Art Gallery, Liverpool, in 2002. Paul McCartney Photographs 1963–64: Eyes of the Storm was organized by the National Portrait Gallery, London, opening there in 2023 before traveling to the Chrysler Museum of Art, Norfolk, Virginia (2023–24); Brooklyn Museum of Art, New York (2024); Tokyo City View (2024); Knowledge Capital Event Lab, Osaka, Japan (2024–25); Portland Art Museum (2024–25); de Young, Fine Arts Museums of San Francisco (2025); and Frist Art Museum, Nashville (2025–26).

GAGOSIAN

17–19 Davies Street, London W1K 3DE

gagosian.com

Rose Wylie @ Zentrum Paul Klee, Bern - "Flick and Float" Retrospective Exhibition

Rose Wylie. Flick and Float

Zentrum Paul Klee, Bern 

19 July - 5 October 2025 

Rose Wylie in her studio, June 2023

Photograph: Will Grundy

© Rose Wylie. Courtesy the artist and David Zwirner

Rose Wylie. Flick and Float presents the nonconformist and fascinating work of the British artist Rose Wylie (b. 1934). Her unique artistic practice has won her international recognition. In her large-format paintings, Rose Wylie strips down figurative representations to their essentials. Expressive, direct and full of subversive humour, these works testify to her engagement with pop culture, film and art history. With more than fifty paintings and around a dozen drawings, the Zentrum Paul Klee is showing a retrospective of Wylie’s work over the last thirty years. New works have been made for the exhibition.

Rose Wylie

Dinner Outside, 2024

Oil on canvas, 183 × 328 cm, two parts

© Rose Wylie. Courtesy the artist and David Zwirner

Photo: Jack Hems

Rose Wylie

Lilith and Gucci Boy, 2024

Oil on canvas, 207 × 306 cm, two parts

© Rose Wylie. Courtesy the artist and David Zwirner

Photo: Jack Hems

Rose Wylie - An unconventional career: from reading to seeing

The ninety-year-old artist lives and works in a cottage not far from London. Rose Wylie received her artistic training at Folkestone and Dover School of Art, Goldsmiths College and the Royal College of Art in London. While raising her three children, she put her artistic career on pause, and, alongside her family life, spent a lot of time reading books. It was not until the late 1990s that seeing took over from reading again, as Rose Wylie explained on a visit to her studio in March 2024. She started devoting herself intensively to painting again, and finally achieved international recognition with her unique work and major solo exhibitions, at Tate Britain in London and elsewhere. The Zentrum Paul Klee is devoting a major retrospective to Rose Wylie featuring over fifty paintings and around a dozen drawings. The artist has painted eight works specially for the exhibition, which are being shown to a museum-going public for the first time in the Zentrum Paul Klee.

Rose Wylie

Jesus of Prague, 1989

Oil on canvas, 184 × 183 cm

© Rose Wylie. Courtesy the artist and David Zwirner

Photo: Anna Arca

Rose Wylie

Manor, 2004

Oil on canvas, 183 × 188 cm

Courtesy the artist and David Zwirner

Photo: Soon-Hak Kwon

© Rose Wylie

Photograph courtesy of Jari Lager

Rose Wylie

The Fat Controller, 2006

Oil on canvas, 366 × 248 cm, four parts

Courtesy the artist and David Zwirner

Photo: Soon-Hak Kwon

© Rose Wylie

Photograph courtesy of Jari Lager

Rose Wylie - Inspiration from pop culture, film and art history

Rose Wylie’s large-format works, made in the studio on the first floor of her cottage, reflect a deep understanding of pop culture, film and art history. She often works with a subversive humour that also connects her to Paul Klee. Stripped down to its essentials, and with a highly expressive lightness of touch, her artistic language references an aesthetic of ‘bad painting’ and post pop. On closer examination, Wylie’s works prove to be sharply observed and subtly polished meditations on the nature of humanity.

Rose Wylie

Singing Life Model, 2017

Oil on canvas, 169 × 182 cm

Karen and Mark Smith

© Rose Wylie. Courtesy the artist and David Zwirner

Photo: Anna Arca

Rose Wylie

Yellow Strip, 2006

Oil on canvas, 183 × 777 cm, five parts

© Rose Wylie. Courtesy the artist and David Zwirner

Photo: Jack Hems

For Rose Wylie, the process by which a painting is made often begins with a visual stimulus. No limits are placed on her inspiration. As indicated by the title of the exhibition, Flick and Float – the artist’s own suggestion – in her working process Wylie ‘flicks’ through a flood of images until a motif attracts her attention. The motif might be a newspaper photograph on her studio floor, a scene from a film, an everyday situation from her life, an artwork or a picture that she found while surfing the internet. What the motifs share, however, is always a special detail that does not match the norm – ‘Toujours la difference!’ is a phrase of which Rose Wylie is particularly fond. So for example, in Singing Life Model, Rose Wylie shows a photographic model posing with a strangely opened mouth, while Yellow Strip shows the football star Ronaldinho with his characteristically thin pony tail, which whips in time with his every movement on the pitch.

Rose Wylie - Painting from memory

Rose Wylie usually begins by capturing her visual impressions in drawings. The drawings in the exhibition provide an insight into her creative process. Rose Wylie does not return to the reference material, but with a few strokes reduces the picture in her memory to what she sees as essential. Speaking of her ‘Film Notes’, for example, she explains:

‘When I do film paintings, I usually work from memory […] – I do not go back to the film or to film stills to check… It’s the original visual excitement I want to work with.’

Rose Wylie, on the letter ‘F’ in the A–Z of the catalogue Rose Wylie. Flick and Float

Rose Wylie then reworks the drawing until the composition and central details are consistent. If lines have to be corrected, Rose Wylie does not erase them, but sticks a new piece of paper over them, which sometimes makes the sketches look like collages. This process of discovery is also repeated on the big canvases in Wylie’s studio. Where necessary, Rose Wylie scrapes the oil paint off again and adds whole new parts of canvases. This genesis provides the second part of the exhibition title, because Rose Wylie describes the process by which her works are created as ‘floating’.

Rose Wylie - Compositional investigations with picture and writing 

Rose Wylie

Bagdad Cafe (Film Notes), 2015

Oil on canvas, 182 × 372 cm, two parts

Courtesy of the British Council Collection

Photo: Soon-Hak Kwon

© Rose Wylie. Courtesy the artist

Photograph courtesy of Jari Lager

Rose Wylie develops pictorial compositions that go beyond traditional perspectival representation. In her multi-panel works, for example, she juxtaposes apparently disparate images, giving rise to visual rhymes and resonances. One example is the two-part work Bagdad Cafe (Film Notes): while in the left half of the painting Rose Wylie reworks visual stimuli from the film of the same name, in the right half she shows scenes from her everyday life – including a flower from her garden, her own mouth when eating and a coffee stain.

‘I spell often phonetically – I paint how things look and I spell how things sound.’

Rose Wylie, in an interview with Fabienne Eggelhöfer during a visit to her studio in January 2025

Rose Wylie also includes writing as part of the composition of her works. What is central here is not so much the content of what is written as the form and arrangement of the letters on the picture surface. She places the writing deliberately to perfect her compositions. The process of writing is more important than the correct way of writing. For this reason Rose Wylie often writes words as she hears them, spelled incorrectly. Her writing style can be experienced in the A–Z section of the exhibition catalogue. In reflections on 26 ideas, Rose Wylie provides a deeper insight into her intellectual world.

Rose Wylie - Biography

Rose Wylie was born in 1934 in Hythe, in Kent in England. She lived with her family in India until the age of five. Her return to England coincided with the outbreak of the Second World War, which Rose Wylie experienced as a child.

Beginning in 1952 she studied painting at Folkestone and Dover School of Art. From 1956 she continued her training at Goldsmiths College in London with a view to teaching. It was here that she met her husband, the artist Roy Oxlade. When their first child was born she put her artistic career on pause and concentrated on the family. In the 1970s she taught painting at Sittingbourne College of Further Education. From 1979 she resumed her artistic activity by studying for a Masters at the Royal College of Art in London.

She began to submit her works for exhibitions with an open application procedure, which was how she came to be selected by Neo Rauch for EAST International at Norwich University of the Arts in 2004. In 2010 her works were shown in the exhibition Women to Watch at the National Museum of Women in the Arts in Washington, which led the feminist Germaine Greer to describe her as the ‘hottest new artist’ in an article in The Guardian. In 2013 she had her first institutional solo exhibition at Tate Britain in London, and won the renowned John Moores Painting Prize the following year. She was also appointed a Senior Royal Academician of the Royal Academy in London. Further exhibitions followed, including shows at the Serpentine Gallery in London (2017), in the Centro de Arte Contemporáneo in Málaga (2017), Aspen Art Museum in Colorado (2020), Hangaram Art Museum in Seoul (2021) and the Stedelijk Museum voor Actuele Kunst (S.M.A.K.) in Ghent (2022) to name only a few. Next year her works will be shown at the Royal Academy in London. 

Rose Wylie. Flick and Float

Catalogue of the exhibition ; Snoeck Verlag, 2025

Published by Fabienne Eggelhöfer and Nina Zimmer

With an A–Z by Rose Wylie, photographs by Juergen Teller, 

as well as a foreword by Nina Zimmer, 

Director of the Kunstmuseum Bern – Zentrum Paul Klee, 

and an introduction by Fabienne Eggelhöfer, 

Chief Curator at the Zentrum Paul Klee.

136 pages ; Language: English ; ISBN 978-3-86442-464-9

Curator: Fabienne Eggelhöfer

Curatorial assistant: Josephine Rechberg

ZENTRUM PAUL KLEE 

Monument im Fruchtland 3, 3006 Bern

zpk.org

British Art Fair 2025: Spotlight on L.S. Lowry by Crane Kalman Gallery

Spotlight on L.S. Lowry 

by Crane Kalman Gallery

@ BRITISH ART FAIR 2025

Modern and Contemporary British Art

@ Saatchi Gallery, London

25 - 28 September 2025

Crane Kalman Gallery, a new exhibitor at British Art Fair, reveals personal connections to L.S. Lowry, presenting a series of rare works by one of Britain’s most popular painters for sale.

L.S. LOWRY 

Sunday Morning, 1938  

Oil on canvas, 18 x 24 inches / 46 x 61 cms

Courtesy of Crane Kalman Gallery

L.S. LOWRY 

Farm Buildings, Worsley, 1914

Courtesy of Crane Kalman Gallery

L.S. LOWRY

Woman Walking, 1965 

Oil on canvas, 28 x 22.9 cms / 11 x 9 inches

Courtesy of Crane Kalman Gallery

L.S. LOWRY 

A Group of Seven, 1965

Courtesy of Crane Kalman Gallery

“In 1949 Andras Kalman opened The Crane Gallery in a basement air-raid shelter in South King Street, Manchester, where the weekly £2 rent was paid by the regular pawning of his typewriter. With persuasion and charm, he managed to obtain for his first exhibition, works by Sir Jacob Epstein, Matthew Smith, Lucien Freud and John Craxton; despite sending invitations to every influential name he could discover, no one came.” Writes Shelley Rodhe in her biography, A Private View of L.S. Lowry (Collins, London 1979). The author takes us to the first meeting between Lowry and Kalman in 1950: “Lowry appeared at the second exhibition, bought a picture and as Kalman recalls ‘it cost him about £20 and I think he bought it only to give my morale a boost’. Visits to the gallery ensued, as did many hours in conversation about artists and the artworld, leading to a lifelong friendship.” 

Andras Kalman at the Crane Gallery, Manchester, 1956, 

tying a painting by Graham Sutherland to the roof of his Alvis. 

That evening, on the trunk road to London, it blew off. After a s

Courtesy of Crane Kalman Gallery

Andras Kalman with Sir Ian McKellen below, c. 2000’s 

talking to children on their school trip to 

Crane Kalman Gallery about Lowry’s work

Courtesy of Crane Kalman Gallery

L.S. LOWRY and Lord Richard Attenborough 

at the opening of the artists exhibition 

A Tribute to L.S. Lowry at Crane Kalman Gallery, London, 1966 

Courtesy of Crane Kalman Gallery

Kalman first exhibited L.S. Lowry’s work in 1952 and Crane Kalman has continued to exhibit his work ever since, hosting a 70th anniversary exhibition at their Knightsbridge gallery in 2022.

Laurence Stephen Lowry RBA RA (1887 – 1976)  is best known for painting the daily lives of Northern British people, often against the background of the modern industrial city. He also painted timeless seascapes and country landscapes that were often empty and even desolate. Collections that hold Lowry’s work include The Tate, London; The Royal Academy of Arts; London; The Hepworth, Wakefield; The Lowry, Salford; Kettles Yard, The University of Cambridge; National Galleries of Scotland, Edinburgh; Museum of Modern Art, New York; and Setagaya Museum, Tokyo.

Crane Kalman Gallery will be exhibiting seven works by L.S. Lowry for sale at British Art Fair 2025, including examples of his best known city scenes, landscapes, a portrait and a series of his later, more haunting and comic works. The price range is £25,000 to £1million. You will find them on the ground floor at Saatchi Gallery, 25-28 September 2025.

L.S. LOWRY 

Houses and Fencing, c. 1925

Courtesy of Crane Kalman Gallery

L.S. LOWRY 

Crowded Street Scene, 1933  

Pencil on paper, 6.5 x 8.75 inches / 16 x 22 cm

Courtesy of Crane Kalman Gallery

L.S. LOWRY 

Portrait of a Man, 1920

Courtesy of Crane Kalman Gallery

Andrew Kalman, son of Andras Kalman and director of Crane Kalman Gallery said: ”To celebrate our debut participation at the British Art Fair, Crane Kalman Gallery is delighted to present a selection of paintings and works on paper by L.S. Lowry. Arguably, no exhibition of Modern British Art would be complete without featuring Lowry, who remains deeply popular with the general public, feted and collected by lovers of 20th-century British art.”

BRITISH ART FAIR 2025 - Modern and Contemporary British Art

Saatchi Gallery, Duke of York HQ, King’s Road, London SW3 4RY

www.britishartfair.co.uk

CRANE KALMAN GALLERY

178 Brompton Road, London, SW3 1HQ 

www.cranekalman.com

Bridget Riley @ Tate Britain, London

Bridget Riley 

Tate Britain, London 

21 July 2025 – 7 June 2026

Bridget Riley 

Concerto I, 2024 

Tate, Presented by the artist 2025 

© Bridget Riley 2025. All rights reserved

Tate announced that it has received the gift of a major recent painting by BRIDGET RILEY (b.1931), one of the most influential artists of our time. Premiering at Tate Britain as part of a new display of Riley’s paintings running until 7 June 2026, Concerto I 2024 has been generously donated by the artist and joins Tate’s holdings of her work spanning a remarkable six-decade working life.

Alex Farquharson, Director of Tate Britain said: “We are extremely grateful to Bridget Riley for her generosity in making such a significant gift to the nation. Riley’s work changed the landscape of abstract art and Concerto I demonstrates how she continues to expand her practice while upholding a commitment to exploring energy and sensation through colour and form. We’re delighted to be able to show the painting in Tate Britain’s free collection displays over the next year, and I have no doubt it will soon become one of the best-loved works in the gallery.”

Bridget Riley 

Elongated Triangles 5, 1971 

Presented by the Institute of Contemporary Prints 1975. 

© Bridget Riley 2025. All rights reserved 

Photo © Tate (Sonal Bakrania)

Renowned internationally for her visually vibrant works, Bridget Riley’s particular approach to painting involves the skilful balancing of forms and colour to explore perceptions of space, balance and dynamism. Her recent works, Concerto 1 and Concerto 2 reflect the artist’s abiding love of French Impressionist and Post-Impressionist painters and their engagement with colour. High in key, Concerto 1 is uplifting, while Concerto 2 explores hidden images.

Bridget Riley 

Fall, 1963 

Tate, Purchased 1963 

© Bridget Riley 2025. All rights reserved. 

Photo © Tate (Joe Humphrys)

Highlighting Riley’s dialogue with the sensory experience of sight, the new display includes Fall 1963, an important early abstract painting in Tate’s collection. The artist has described this painting as “a field of visual energy, which accumulates until it reaches maximum tension.” Using black and white curves, it evokes feelings of both elation and disturbance. Fall is being shown for the first time since receiving sustainable conservation treatment as part of GREENART, a groundbreaking new project researching ways to preserve cultural heritage using environmentally friendly materials.

Building on the long-standing relationship between Bridget Riley and Tate, this display is the artist’s fourth showing at the institution, having previously presented displays in 1973, 1994, and a large-scale retrospective survey in 2003. Fall was the first work by Bridget Riley to enter Tate’s collection in 1963 and has since been joined by nine paintings, 25 studies, and three works on paper by the artist. Concerto I is the first work by Bridget Riley created within this decade to be brought into Tate’s collection, expanding its representation of her practice.

Bridget Riley’s work is part of a series of regularly changing displays at Tate Britain to be staged since the gallery unveiled a full rehang in 2023. Collection works by Jacob Epstein, a key figure in the direct carving movement of the early 20th century, are currently installed in the Duveens Galleries at the heart of Tate Britain. Exploring the interplay between carving and modelling in Epstein’s work, monumental sculptures in stone are juxtaposed with bronze portrait busts. On 28 July, Pieter Casteels’s painting A Fable from Aesop: The Vain Jackdaw 1723 will be shown for the first time as part of a display looking at how artists have been inspired by birds. Several new artist interventions, first implemented with the rehang, will also appear throughout the collection. Found ceramics painted by Lubaina Himid will feature in the room exploring the rise of the urban metropolis in the era of Hogarth. Archive materials from Stuart Brisley’s time working on a project to record the experience of the inhabitants of Peterlee New Town and its surrounding villages will be included in the display exploring the place of abstract art in Britain’s post-war reconstruction.

TATE BRITAIN

Millbank, London SW1P 4RG

www.tate.org.uk

Martin Parr. Early Works @ f3 – freiraum für fotografie, Berlin

Martin Parr. Early Works

f3 – freiraum für fotografie, Berlin

September 13 – November 30, 2025

Siehe die Deutsche Version unten

MARTIN PARR

Osmond Fan, Manchester, England 1973

© Martin Parr / Magnum Photos 

MARTIN PARR

Tom Greenwood cleaning, Hangingroyd Road,

Hebden Bridge, Yorkshire, England 1975

© Martin Parr / Magnum Photos

MARTIN PARR

Stonehenge, Wiltshire, England 1975

© Martin Parr / Magnum Photos

MARTIN PARR (*1952, Epsom, Surrey, UK) is one of the most important British documentary photographers and photojournalists. He became internationally known for his large-format, colorful photographs that humorously scrutinize British society. With his ironic and socially critical view of everyday situations, he has made photographic history.

The exhibition Martin Parr. Early Works focuses on the early work of the MAGNUM photographer and presents 75 rarely shown black and white images. Bird clubs in Surrey, pilgrimages to the Pope in Ireland, holiday trips to the Scottish Highlands, provincial football matches, and traditional village banquets are just some of the social events that grasped the young Martin Parr’s attention. Exaggeration and emphasis – two key elements of his work – run like a thread through these photographs. The strength of his images lies in the precise observation of everyday situations and in their focus on the seemingly unspectacular. Local traditions, street life, and the unforgettable fluctuating island weather: Martin Parr compels us to take a second look and cherish the funny sides of life.

MARTIN PARR

Mayor of Todmorden's inaugural banquet, Todmorden,

West Yorkshire, England 1977

© Martin Parr / Magnum Photos

MARTIN PARR

Surrey Bird Club, Surrey, England 1972

© Martin Parr/ Magnum Photos

MARTIN PARR

Glastonbury Tor, Somerset, England 1975

© Martin Parr / Magnum Photos

Included in the exhibition are some of Parr’s encompassing views such as "Mayor of Todmorden’s Inaugural Banquet", from 1977, where hungry guests squeeze shoulder to shoulder, not to miss the best dish. Also outstanding is the photograph "Surrey Bird Club", which shows two couples in 1972, equipped with binoculars and engaging in their favorite hobby: birdwatching. Or "Glastonbury Tor", featuring an animal protagonist – a cow – posing like a sightseer in search of attractions at the popular tourist hotspot Glastonbury Tor.

MARTIN PARR

Steep Lane Baptist Chapel buffet lunch, Sowerby,

Calderdale, West Yorkshire, England 1977

© Martin Parr / Magnum Photos

MARTIN PARR

Elland, West Yorkshire, England 1978

© Martin Parr / Magnum Photos

MARTIN PARR

Lynotts Bar, Manorhamilton, County Leitrim, Ireland 1983

© Martin Parr / Magnum Photos

At first glance, nostalgia or romanticism seem to be at the forefront, but Martin Parr questions the subjects of his photographs and their seemingly ordinary actions. With an almost anthropological interest, he dissects our behavior, prompts us to reflect, and reveals – both humorously and critically – the complexity and absurdity of modern life.

MARTIN PARR studied photography at Manchester Polytechnic and began his career in the 1970s. Initially working in black and white, he switched to colour photography in the mid-1980s. He has been a member of the renowned MAGNUM photo agency since 1994. Martin Parr has published over a hundred books of his own and has curated numerous festivals, including the Rencontres d'Arles and the Brighton Biennale. His photographs are exhibited worldwide and are represented in many collections. The Martin Parr Foundation was established in 2014 and is based in Bristol since 2017.

Accompanying the exhibition, the publication "MARTIN PARR. Early Works" is available.

Martin Parr. Early Works was curated by Celina Lunsford (Fotografie Forum Frankfurt) in close collaboration with the photographer and the Martin Parr Foundation.

________

MARTIN PARR (*1952, Epsom, Surrey, GB) ist einer der wichtigsten britischen Dokumentarfotografen und Fotojournalisten. International bekannt wurde er mit seinen großformatigen, farbenfrohen Fotografien, welche die britische Gesellschaft humorvoll unter die Lupe nehmen. Mit seinem ironischen und sozialkritischen Blick auf Alltagssituationen hat er Fotografie-Geschichte geschrieben. 

Die Ausstellung Martin Parr. Early Works konzentriert sich auf das frühe Werk des MAGNUM-Fotografen und präsentiert 75 selten gezeigte Schwarz-Weiß Aufnahmen. Vogelklub-Aktivitäten im englischen Surrey, Pilgerfahrten zum Papst in Irland, Urlaubsreisen in die schottischen Highlands, Fußballspiele in der Provinz und traditionelle Dorffeste sind nur einige der gesellschaftlichen Aktivitäten, die das Interesse des jungen Martin Parr wecken. Die Übertreibung und Zuspitzung – zwei Schlüsselelemente seines Werkes – ziehen sich wie ein roter Faden durch die Fotografien. Die Stärke seiner Aufnahmen liegt in der präzisen Beobachtung alltäglicher Situationen und in ihrer Konzentration auf das scheinbar Unspektakuläre. Lokale Traditionen, das Straßenleben und das wechselhafte Inselwetter: Martin Parr bringt uns dazu zweimal hinzusehen und die skurrilen, humorvollen Seiten des Lebens zu entdecken. 

Teil der Werkschau sind auch einige von Parrs eindrucksvollsten Aufnahmen, darunter »Mayor of Todmorden’s Inaugural Banquet«, eine Szene an einem Buffet, an dem sich hungrige Gäste Schulter an Schulter drängen, um den besten Happen zu ergattern, aus dem Jahr 1977. Herausragend auch die Fotografie »Surrey Bird Club«, auf der zwei Paare zu sehen sind, die sich 1972 mit Feldstechern ausgestattet ihrem liebsten Hobby widmen: der Beobachtung von Vögeln. Oder »Glastonbury Tor«, die Aufnahme einer tierischen Protagonistin – einer Kuh – die wie eine Ausflüglerin auf der Jagd nach Sehenswürdigkeiten an dem touristischen Hotspot Glastonbury Tor posiert.

Auf den ersten Blick dominieren Nostalgie oder Romantik die Aufnahmen, doch Martin Parr hinterfragt die Akteur*innen seiner Fotografien und deren scheinbar alltägliche Handlungen. Mit nahezu anthropologischem Interesse seziert er unser Verhalten, regt uns zur Reflexion an und zeigt auf komische und kritische Weise die Komplexität und Absurdität des modernen Lebens auf.

MARTIN PARR studierte Fotografie am Manchester Polytechnic und begann seine Karriere in den 1970er-Jahren. Zunächst arbeitete er in Schwarz-Weiß, wechselte aber Mitte der 1980er-Jahre zur Farbfotografie. Seit 1994 ist er Mitglied der renommierten Agentur MAGNUMPhotos. Martin Parr hat über hundert eigene Bücher veröffentlicht und war bei zahlreichen Festivals als Kurator tätig, darunter Rencontres d`Arles und Brighton Biennale. Seine Fotografien werden weltweit ausgestellt und sind in vielen Museumssammlungen vertreten. 2014 gründete er die Martin Parr Foundation mit Sitz in Bristol.

Martin Parr. Early Works wurde kuratiert von Celina Lunsford (Fotografie Forum Frankfurt) in enger Zusammenarbeit mit dem Fotografen und der Martin Parr Foundation.

f³ – freiraum für fotografie 

Prinzessinnenstrasse 30, 10969 Berlin

www.fhochdrei.org