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The London Group Open 2019: Part I

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The UK’s longest-running and most prestigious artists’ co-operative, The London Group, is delighted to announce both the member and the selected exhibitors for its 84th open exhibition.

The London Group Open 2019 offers a wonderful opportunity for emerging and established artists to raise their profile, win cash prizes, and exhibit their work alongside the Group’s esteemed members. No commission will be charged on any works sold during the 2019 exhibition in line with the Group’s commitment to give artists ‘a boost in a tough career, thereby nurturing and supporting the development of the art of the future’. (Susan Haire, President).

The Members of The London Group who will be exhibiting this year are as follows:

PART I

Victoria Bartlett, Stephen Carley, John Crossley, Philip Crozier, Jeff Dellow, Angela Eames, James Faure Walker, Tricia Gillman, Vaughan Grylls, Susan Haire, Julie Held, Bill Henderson, Gillian Ingham, Janet Nathan, Micheál O’Connell, Ian Parker, Claire Parrish, Janet Patterson, Sumi Perera, Michael Phillipson, Alexander Ramsay, David Redfern, Tommy Seaward, Philippa Stjernsward, Srinivas Surti, David Theobald, Philippa Tunstill, Neil Weerdmeester, Anthony Whishaw, Erika Winstone, David Wiseman, Carol Wyss

The artists selected to exhibit as part of The London Group Open 2019 are as follows:

PART I

Galina Agafonova, Belinda Bailey, Paul Bonomini, Amelia Bowles, Simon Chalmers, Zihan Chen, Dominique Croshaw, Martin Darbyshire, Freddie Darke, Daniel Davidsson, Robert Davies, Nigel Dawes, Ozlem Demirel, Beverley Duckworth, Chloe Fremantle, Ann Grim, Chris Horner, Debbie Lee, Rosie Leventon, Duncan Mckellar, Eugene Macki, Bethany Marett, Maya Ramsay, Amber Roper, Gail Seres-Woolfson, Katy Shepherd, Linda Simon, Hanna ten Doornkaat, Alexander Vorobyev, Ariella Wertheimer, Eleanor Wood, Natalia Zagorska-Thomas, Jingbo Zou

‘Having been on the Open Selection Committee since 2007 I am always fascinated to review the staggering range of work being produced by our fellow art workers and to show alongside them. I see it as an education; informing and enriching me personally as regards current practice.’ David Redfern

 

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