Visual arts
Bill Knight
Ming Smith is a Black female photographer. When she first dropped off her portfolio at New York’s Museum of Modern Art in 1978 the receptionist assumed she was a courier. When MoMA offered to buy her work she declined at first because the fee didn’t cover her bills. Luckily for us, she relented. Later she said that, "Being the first Black woman photographer to have a work acquired by the MoMA was like getting an Academy Award and no one knowing about it."Smith was the first woman to join the Kamoinge Workshop in New York in 1963, a pioneering group of Black photographers who, she says, “ Read more ...
Sarah Kent
I’m a sucker for traditional vitrines and the procession of old style display cases installed by Ali Cherri in the Renaissance galleries of the Sainsbury Wing look very handsome.During his residency at the National Gallery, the Lebanese artist has been researching evidence of trauma in the collection. Of course, images of torture, murder and cruelty abound in paintings of the humiliation and crucifixion of Christ and the many martyrdoms portrayed in gory detail for the edification of the faithful. It’s amazing how we can gaze with disinterested curiosity at open wounds, severed heads or Read more ...
mark.kidel
The hidden history of women artists continues to generate some ground-breaking exhibitions that contribute to a radical re-assessment of art and cultural history. This is a welcome trend, though not entirely without risk, as a new show in Paris demonstrates, and as other exhibitions have managed less convincingly.Pionnières – Artistes dans le Paris des Années folles is an intelligently contextualised and broad-ranging survey of women’s art in the Roaring Twenties, at the Musée du Luxembourg. The show, which focuses on Paris, provides a revealing, if at times erratic, overview of the way Read more ...
Sarah Kent
The night after visiting Tate Modern’s Surrealism Beyond Borders I dreamt that a swarm of wasps had taken refuge inside my skull and I feared it would hurt when they nibbled their way out again.If I painted a self-portrait with wasps escaping from my eyes, nose, ears and mouth it would be a striking image; but would it make me a Surrealist? According to this exhibition, the answer would be a resounding “yes”, since its goal is to chart how Surrealism spread across the globe and how, since the 1920s in Paris, this radical way of thinking has taken root in the collective unconscious ( Read more ...
Sarah Kent
The Barbican’s Postwar Modern covers the period after World War Two when artists were struggling to respond to the horrors that had engulfed Europe and find ways of recovering from the collective trauma.Perhaps inevitably, a considerable amount of sturm und drang was produced by artists such as Alan Davie, Eduardo Paolozzi and Francis de Souza. Melodrama may have seemed appropriate as an expression of the despair and fatigue they experienced, but the work has weathered badly and now feels decidedly overblown.You could say that, as people emerging from a global pandemic, the last thing we need Read more ...
Sarah Kent
The Whitechapel Gallery's exhibition opens with Cell IX, 1999 (pictured below) one of the wire cages that Louise Bourgeois filled with memories of her dysfunctional family. This one contains a block of marble carved into hands. A tender portrayal of the mother-daughter bond, it is under scrutiny via three circular mirrors.The sculpture embodies Bourgeois’s dilemma as an artist. While paying tribute to her main source of inspiration – her childhood – it also proclaims her need to protect her memories from prying eyes. Once, when Alan Yentob probed her with questions for a television programme Read more ...
Sarah Kent
Louise Bourgeois didn’t throw anything away and, during the last 20 years of her life, she used her own and her mother’s old clothes to create theatrical tableaux which revisit painful childhood memories. “These garments have a history,” she explained. “They have touched my body and they hold memories of people and places. They are chapters from the story of my life.”Cell XXV (The View of the World of the Jealous Wife), 2001 (pictured below, right) is like a scene from an Ibsen play with dresses standing in for people. Three female characters are trapped inside a wire cage, caught in the Read more ...
Sarah Kent
America in Crisis revisits an exhibition staged in 1969 soon after Richard Nixon was elected President. Pictures taken by 18 Magnum photographers including Elliott Erwitt and Mary Ellen Mark cast a critical eye over American society and capture many of the key events that preceded Nixon’s election.The addition of photographs taken in 2020 and 2021 bring the exhibition up to date and invite comparison between the Trump and Nixon eras. The juxtaposition is pretty devastating, since it reveals the degree to which many of the problems revealed by the first exhibition have got worse over the Read more ...
Sarah Kent
Francis Bacon Man and Beast fills most of the main galleries at the Royal Academy. Thankfully, five of the rooms are empty. The exhibition is such a dispiriting experience, I’d have been hollering like a howler monkey if there’d been any more. And as it was, I came out feeling emotionally numb.It’s not what Bacon intended. He hoped his paintings would “unlock the valves of feeling and therefore return the onlooker to life more violently.” Maybe you need a penchant for violence to respond as he hoped since, for him, living life violently was the norm. When his military father discovered his Read more ...
Jack Barron
It might be said that Paula Rego’s subject is light: but rather than painting it, she gives it. She paints deep into social corners, affording generous and often unnerving representation to worlds forgotten or forced out of sight. This isn’t always a comfortable experience, and her figures are frequently refracted or distorted, bent out of shape in a desperate need to be seen. They are, in many ways, acts of resistance. Take, for instance, her suite Dog Woman, 1994, which depicts a series of women bestially poised: crouched and self-grooming, cornered, supine and submissively wide-eyed Read more ...
theartsdesk
Despite its much delayed start, 2021 was a great year for the visual arts, and institutions and artists alike showed their resilience in agile and sensitive responses to unprecedented conditions. The plastic arts took on a new significance as people adjusted to life without human touch; equally, the experience of viewing art online revealed the extent to which tactile qualities are experienced through looking. Here are some of our thoughts on the best of the year just gone.*Seeing paint on canvas, walking around a sculpture and looking at the textures of plaster, stone, metal and wood was as Read more ...