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Anna Freeman Bentley studied at Chelsea College of Art and Design, Berlin Weissensee and the Royal College of Art. She has had solo exhibitions in Berlin, Venice and California, residencies in London with the Florence Trust and with the Michelin-starred restaurant Pied a Terre, and participated in group exhibitions including the Prague Biennale, the Bloomberg New Contemporaries and the last two East London Painting Prize shows. Her work is part of the Saatchi Collection, Chelsea College of Art Collection, the Ahmanson Collection and numerous private collections worldwide. In February 2015 the artist’s first monograph was published by Anomie Publishing, featuring newly commissioned texts by Michele Robecchi, Dr. Ben Quash, and Marina Cashdan.


Anna Freeman Bentley's Picks

"Tal R - Chimney School Of Sculpture "

Victoria Miro, London

4/23 - 5/30/2015


Tal R has built a self contained corridor stretched over with dark grey canvas and lit from inside. Within are numerous painted works all depicting the same simple image of a closed blind. The physicality of the installation, being forced up close to all these works and smelling the oil paint was like entering a painterly reality and yet the images depicted something closed off. It was a visceral experience of interiority and one that excited me about how far site specific, installed painting can go.


"Nick Goss - Green Lanes"

Josh Lilley Gallery, London

5/1 - 6/19/2015


Nick Goss’ paintings are minimal and loose, they speak of something temporary. I loved “Kaiteur Kitchen” because it packs a punch, the colours are bolder with sophisticated tonality. There’s a real feeling of being located somewhere in passing. The use of printing certain elements, woodgrain and tiles is effective in placing the viewer inside some enclosure and yet at the same time, outside for alfresco dining. All the works give more as you step further away.

"Michael Armitage"

White Cube, London

4/29 - 7/5/2015


These paintings seem reminiscent of Doig and Ofili and yet hold their own. Painted on the strange, uneven surface of Lubugo bark cloth the works are large but clearly delicate. The surface absorbs the paint so they appear dry yet the paintings flow with movement over the textured natural fabric. I loved the blocked out negative spaces that subvert the perspective bringing a flatness to the curious locations. Some obvious, some subtle, these paintings are intriguing and enticing, quiet and oddly engrossing.

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