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The London Group Open 2019: Part II

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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 in Part II are as follows:

Moich Abrahams, Wendy Anderson, Bryan Benge, Slawomir Blatton, Clive Burton, Peter Clossick, Tim Craven, Sandra Crisp, Mark Dickens, Eric Fong, Cadi Froehlich, Alexandra Harley, Martin Heron, Aude Hérail Jäger, Alexander Hinks, Annie Johns, Jockel Liess, Amanda Loomes, Jeff Lowe, Graham Mileson, Genetic Moo, C Morey De Morand, Charlotte C Mortensson, Kathleen Mullaniff, Darren Nisbett, Eugene Palmer, Tom Scase, Suzan Swale, Almuth Tebbenhoff, David Tebbs, Paul Tecklenberg, Bill Watson, Tisna Westerhof, Susan Wilson

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

David Aston, Adam Atraktzi, Simon Brewster, Anita Bryan, Stephen Buckeridge, Gill Capewell, Sayan Chanda, Emma Elliott, Tomas Fernandez Vertiz, Jill Gibson, Josh Grey-Jung, Shir Handelsman, Christopher Harris, Samantha Heydt, Lesley Hilling, Chirag Jindal, Marion Jones, Ann Kim, Izabela Kowalczyk, Constanze Kratzsch, Sarah Leahy, J. (Jie) Li, Christopher Madden, Ana Mendes, Barbara Nati, Richard Paton, Maybelle Peters, Rob Reed, Julia Remizova, Ana Schmidt, Sam Shendi, Seamus Staunton, Lisa Traxler RWS MRSS, Tom Waugh, Angela Wright

‘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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