Thank you to all artists and collectors for your continued support this year. We are looking forward to returning in January with the launch of a series of shows - both online and in physical space.
A painting in storage can have an excellent exhibition history, but it still needs somebody to get it out again. In 1980, John Hoyland selected Clyde Hopkins for the Hayward Annual. In 1986, Hopkins and Frank Bowling had concurrent exhibitions at the Serpentine. Their subsequent visibility tells us something about how art history gets made.
APT Open Studios
Saturday 19 and Sunday 20 September 2026
1–6pm both days
6 Creekside, Harold Wharf, Deptford, London SE8 4SA
Discover four contemporary artworks in August’s Collector’s Note, with insights on emerging artists, collecting and the culture of the art world.
Your last work is your estate. Who controls what survives, and how an artist’s legacy becomes fact, folklore or someone else’s tidy fiction.
Over the past few weeks I’ve been thinking about what it means to start out as an artist - and what it means to stay visible once the usual structures have fallen away. My June Review focuses on recent graduates from the Slade and RCA, while other recent work has returned me to Clyde Hopkins, Marilyn Hallam, Zoe Spowage and the very different world of larger secondary-market deals. Different ends of the art market, perhaps, but the same questions keep returning: what is serious, what is overlooked and what is worth living with?
