Visual arts
fisun.guner
Some years ago the Dulwich Picture Gallery invited Howard Hodgkin to exhibit alongside the Old Masters in their collection. I am not a fan of this vastly overrated artist, but even a diehard enthusiast must have found the juxtaposition cruel. How could Hodgkin’s crudely daubed, splishy-sploshy canvases (I exempt from the description a few works painted at the highpoint of his career in the mid-Seventies) bear scrutiny against works by Rubens or Rembrandt? They couldn’t, and the exhibition was a car crash. So how will an artist whose works appear similarly unrestrained and unstructured fare in Read more ...
Marina Vaizey
A subtly haunting and brilliantly composed photograph by André Kertész lives on as a wistfully memorable image of exile: in Lost Cloud, 1937, a small, isolated cloud drifts we know not where next to a New York skyscraper. Kertész is one of the quintet of Hungarian Jewish photographers who are acknowledged as among the greatest of the last century. Kertész, Laszlo Moholy-Nagy, Robert Capa, Martin Munkácsi and Brassaï are the most familiar among the staggeringly accomplished Hungarian photographers who feature in the Royal Academy’s exhibition Eyewitness.It is to the Transylvanian Brassaï, Read more ...
Sarah Kent
The locals are understandably proud of Folkestone; Everywhere Means Something to Someone is an idiosyncratic guidebook offering an insider’s view of the town that bears witness to the depth of people’s attachment to it. Put together for the Folkestone Triennial by the artists’ collective Strange Cargo, this compendium of facts, memories and musings makes for compulsive reading.Ghosts feature large among the 250 snippets of information alongside memories of childhood games, frequently involving dens built from rubbish dumped in wasteland. For the visitor they bring the town to life. We Read more ...
josh.spero
Fake or Fortune? on BBC One, with Fiona Bruce and art dealer and sleuth Philip Mould, ought to have been called CSI: Cork Street for its blend of fine art and forensic science. They were trying to resolve whether a Monet was in fact a Monet, using a 240 million-pixel camera, Monet's own accountbook (which Fiona Bruce ran her ungloved fingers across) and plenty of ominous music. Next up: who killed Marat in David's picture?The mystery of fakes, forgeries and misattributions becomes ever more fascinating as pictures fetch greater prices at auction; Monet's record stands at £41 million. The Read more ...
Russ Coffey
This site has never acknowledged a distinction between high and popular culture. Nor, it seems, does the city of Birmingham. Currently bidding for UK City of Culture 2013, it is also promoting itself as the "Home of (Heavy) Metal". This summer, at various locations across the Black Country, a four-month festival looks at the likes of Ozzy Osbourne and celebrates the people who inspired him to “bark at the moon”. Surrounded by guitars, leather and fans' metalobilia in the Birmingham Museum and Art Gallery, theartsdesk caught up with Black Sabbath guitarist Tony Iommi to find out what it’s all Read more ...
josh.spero
An article in this week's New Yorker bemoans the death of drawing in art. Why has the emphasis on craft, Adam Gopnik writes, been replaced by concept? He has evidently not seen the fantastic noirish drawings of Marcel van Eeden at Sprueth Magers in Mayfair.Van Eeden has created a mysterious story based around three characters - an athlete, an assassin and an artist - who meet on 22 November, 1948, the title of the show. There is murder in the Seychelles, a tram accident in Zurich, maps and guns and explosions, a complex plot which we can only ever see fragments of in his drawings. The Third Read more ...
fisun.guner
As one of the stars of the Moulin Rouge, she was variously known by the nicknames "La Mélinite", "Jane la Folle", and "L’Etrange". The first was after a brand of explosive, the other two attesting to a little craziness. Jane Avril’s eccentric dance movements evoked the involuntary spasms of female hysteria patients. But while photographs exaggerate her childlike demeanour (she wears her hair in ringlets and poses in a range of shepherdess bonnets, a look popular in 19th-century music hall), as Henri de Toulouse-Lautrec’s muse, she was transformed into a somewhat haunted figure far older than Read more ...
fisun.guner
Who were the Vorticists? Were they significant? Were they any good? And does this little-known British avant-garde movement – if it can be called anything as cohesive - really deserve a major survey at Tate Britain? Many of the group’s paintings never survived the First World War, and nor did one of its most talented supporters, the precocious French sculptor Henri Gaudier-Brzeska; two of the most talented artists who did – David Bomberg and Jacob Epstein – were never signatories to its manifesto, and Epstein, for one, distanced himself; and, in its short life, there was only one exhibition Read more ...
fisun.guner
It owns almost twice as many artworks as the Arts Council, and two-thirds of its 13,500-strong hoard is on display at any given time, yet it’s a collection the public never usually gets to see. Since its foundation in 1898, the Government Art Collection has been purchasing work by British artists not for the nation, but to hang exclusively in the corridors of power, from Downing Street to the British consulate’s office in Azerbaijan. Perhaps, in these cost-cutting times, it now feels impelled to justify its existence to the taxpayer by giving it a taster of its work – though, in all Read more ...
Sarah Kent
Robin Rhode’s animations are pure pleasure; there’s perfection in their simplicity. They are so perfectly tuned, so light on their feet, that one simply wants to enjoy them; but because they are multilayered, they offer more than momentary pleasure. Rhode was born in South Africa and, in many ways, he is the Banksy of Johannesburg. In the late 1990s he began using the scruffy walls of the city as a canvas on which to make drawings which he describes as a “dreamscape to the impossible”.But whereas stealth is crucial to Banksy’s modus operandi – he disappears into the night, leaving his images Read more ...