In 1978, the esteemed British curator Bryan Robertson saw fit to compare the promise of painter Gary Wragg’s emergent career with that of the young Jackson Pollock. It is a comparison lent some weight by the fact that Robertson had written a monograph and organized a major exhibition devoted to Pollock’s work when he was Director of London’s Whitechapel Gallery.
BEXHILL-ON-SEA, England — Liveness is a difficult quality to prescribe in a work of art. But to borrow a phrase from an obscenity trial, you will know it when you see it. This is especially true when the medium is painting. It is alive, yes, but it is not always so vital as in the current show, I Cheer a Dead Man’s Sweetheart, at De La Warr Pavilion.