Every morning on my way to work I pass some graffiti that reads “The King’s Munch…Let’s Punch Cops,” which I find almost transcendental in its nonsense. The point is making a point can be harder than it sounds, and the line between being genuinely thought-provoking and A-level Art cringe (“Kurt Cobain will f**k the bankers”) can be a fine one.
So it’s refreshing to see that for his new London show, William Blanchard has once again produced a glut of work on the right side of that divide. Combining his obsessive hoarding instinct, rock and roll sensibility and socio-cultural concerns he has produced: “a diverse range of flotsam from the ebb tide of the modern world through which (he) mirrors the unbridled consumption of our times and the emotional and political nature of our response to this society of spectacle and waste.”
There’s super-creepy Victorian carnival references, hacked military targets and twisted takes on voodoo shrines with a consistent seam of proper point-making.
This is William Blanchard is at The Strand Gallery from July 25 to August 4.
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- Photographer Roe Ethridge’s images blur the lines between commercial and sentimental
- Thomas Prior captures a Mexican festival involving exploding sledgehammers
- The misty-eyed and delicate pencil marks of Lee Kyutae
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- Wes Anderson directs H&M Christmas advert starring Adrien Brody
- The New Look: Looking back at Roundel’s 1980s identity design for British Rail’s Railfreight
- Discussing cinema with Laura Marling on her directorial debut, Soothing
- London’s first crisp restaurant, Hipchips, launches with branding by Ragged Edge
- Richard Sandler’s street photography conveys the intricacies of city life
- A "stress opus" from cartoonist Nadine Redlich