Apollo Magazine (UK)

Around the Galleries

The 33rd edition of London Art Fair is also its first digital-only outing, but it still offers the best in British art. Elsewhere in the capital, galleries reopen with big-name exhibition­s

- By Samuel Reilly

We’re very mindful that people have a little bit of digital fatigue,’ says Sarah Monk, who oversees London Art Fair as portfolio director at Upper Street Events. London Art Fair was the last major event of its kind to take place in the city before the pandemic struck in 2020 – and after the first wave of Covid-19, Monk and her team had been hopeful that for its 33rd edition the fair might return to the Business Design Centre in Islington this year. Then came new restrictio­ns last autumn and conversati­ons turned to how to make a virtue of a necessity.

Monk explains that the understand­ing of the virtual world that her team and the fair’s exhibitors have rapidly had to gain has led them to prioritise quality over quantity. Fifty galleries – down from more than 100 last year – have been invited for this digital edition (20–31 January) to present curated viewing rooms, with the focus on the best of modern and contempora­ry British art. Jenna Burlingham offers a compelling watercolou­r study of ambiguous Sea Objects (1947) by Graham Sutherland, while Osborne Samuel brings a fine acrylic study, Head of Man, by John Craxton from 1948 (Fig. 1). Two years earlier the artist had made his first visit to Crete, where he would spend much of the rest of his life – with one half of this figure’s face cast in deep shade, and the other bathed in bright light, it’s hard not to think of it as Craxton turning his back on British society for Arcadian climes.

The fair has added a few personal touches to the digital experience. As well as an online talks programme and interactiv­e workshops, there are audio commentari­es on selected works in the viewing rooms by dealers – an attempt, Monk says, to ensure that ‘the passion and expertise’ of gallerists is on hand as usual. The Platform section will still go ahead, with Candida Stevens returning to curate its second edition. The theme this year is ‘Folk Art’; writing about the subject in March, Stevens pointed to the links between ‘culture and community’ that are everywhere apparent in folk art traditions, and Monk highlights the ‘added poignancy’ that the theme has acquired over the past year.

Elsewhere in London, Shapero Rare Books and Shapero Gallery moved into new premises on Bond Street last year, and are currently hosting a pop-up emporium with the likes of maiolica specialist Justin Raccanello and Kent Antiques, slated to continue until the summer.

Meanwhile, Shapero Modern is mounting the first major Frank Stella retrospect­ive in the UK for some 10 years (28 January–20 March). Other galleries are also marking the end of lockdown with big-name exhibition­s. Thaddaeus Ropac presents Robert Rauschenbe­rg’s silk-screen paintings on metal in ‘Nightshade­s and Phantoms’ (14 January–13 March), while

Marian Goodman – in the gallery’s final display before closing its London premises – is hosting the first UK solo show in nearly 50 years of work by Robert Smithson (until 9 January).

London Art Fair takes place online from 20–31 January (www.londonartf­air.co.uk).

 ??  ?? 1. Head of Man, 1948, John Craxton (1922–2009), acrylic on board, 44×30cm. Osborne Samuel at London Art Fair
1. Head of Man, 1948, John Craxton (1922–2009), acrylic on board, 44×30cm. Osborne Samuel at London Art Fair

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