Stephen Friedman Gallery is pleased to present ‘Multiple III’, the third iteration of its annual exhibition of editions by gallery artists. This year’s online presentation brings together a complete catalogue raisonné of David Shrigley’s screenprints from 2012 onwards and is accompanied by the launch of a new edition by the British artist.
The present portrait of a young Afro-British woman called Savannah Essah is a classic example of Kehinde Wiley’s unique painting practice which has evolved over the last twenty years and is now celebrated in major institutional exhibitions around the world. Containing new and original visual content, this viewing room delves deeper into Wiley’s work and gives a personal context to both artist and sitter, breathing life into a portraiture practice that is at once original and deeply historic.
'Lockdown Drawings' is a new body of work created by British artist David Shrigley during the UK's coronavirus lockdown in spring 2020. Encompassing 340 works to date, these quick-witted ink on paper drawings reveal chance utterings and satirical comments on everyday situations and human interactions. Shrigley produced these works at his home by the sea in Devon, in the southwest of England. "We decamped here from Brighton. And I brought 500 sheets of paper and several bottles of ink," the artist says. "I have a little studio in the house [and] I'm able to do my thing."
This Online Viewing Room identifies the different ways in which drawing informs the sculptural practices of artists, bringing together works by Claire Barclay, Melvin Edwards, Tom Friedman, Kendell Geers, Jim Hodges, Yinka Shonibare CBE, David Shrigley and Jiro Takamatsu. The presentation includes personal commentaries from a number of the artists explaining the relationship between drawing and sculpture in their practices.
Describing them as “existential landscapes”, Andreas Eriksson is typically known for his subtly textured paintings of the natural world. In recent years, the artist has expanded his formal language by making large-scale, handwoven tapestries rendered in subtle hues of undyed yarn. This Online Viewing Room highlights the formal and conceptual connections between these two distinct aspects of Eriksson’s practice, both united in the artist’s enduring interest in the passing of time and his relationship to the canvas. The OVR is accompanied by a digital commentary from Hettie Judah, art critic and regular contributor to The Guardian, Frieze and The New York Times.
Stephen Friedman Gallery has built a reputation for its commitment over the last 25 years to championing artists from Latin America. The gallery inaugurates its Online Viewing Room (OVR) programme with a specially curated exhibition featuring works by celebrated historical and mid-career artists from South America who have formed a vital part of the gallery's history. The OVR is accompanied by a personal narrative from Stephen Friedman.