Visual arts
Florence Hallett
Undoubtedly the strangest thing in this exhibition dedicated to Rodin’s works in plaster is a rendition of Balzac’s dressing gown, visibly hollow, but filled out nevertheless by the ghostly contours of an ample male form. Not surprisingly, the phantom dressing gown is sometimes given as evidence of Rodin’s modernist credentials – were it not 39 years too early, it would surely have qualified for the International Surrealist Exhibition of 1936.The question of Rodin’s modernist intentions is the central one posed by this exceptionally beautiful show, which is also, by Tate standards, Read more ...
Sarah Kent
The focal point of Matthew Barney’s Hayward exhibition is Redoubt, a two-and-a-quarter-hour film projected on a giant screen that invites you to immerse yourself in the rugged terrain of the Sawtooth Mountains in Idaho, where he grew up. The entrance ticket allows you to watch the film at home, yet while I was there almost everyone stayed the course, which is remarkable given that there’s no dialogue.It’s winter so everything is deep in snow which makes it difficult for people, dogs and horses to get around. Only the most intrepid are out; there’s a hunter played by Anette Wachter, who is a Read more ...
Sarah Kent
David Hockney has a new toy, an app designed specially for him that allows him to work on an iPad with fine brushes. He spent the first five months of lockdown In Normandy making daily records of the coming of spring; the results are displayed in a large show at the Royal Academy (★★). Seamless animation turns his still images into a continuum. As you watch the gradual transition from bare branches to full flowering, it’s as if you were looking over the artist’s shoulder while he works, which is fascinating.Then come the inkjet prints of the iPad pictures; they have the uncanny luminosity of Read more ...
Sarah Kent
Eileen Agar was the only woman included in the International Surrealist Exhibition of 1936, which introduced London to artists like Salvador Dali and Max Ernst. The Surrealists were exploring the creative potential of chance, chaos and the irrational which they saw as the feminine principle, yet they didn’t welcome women artists into their group.Agar wasn’t easily discouraged, though. At the tender age of six, she’d been sent away to boarding school, an experience that made her fiercely independent. Later she studied at the Slade, but rebelled against the art school’s academic approach. A Read more ...
Florence Hallett
When Turner’s Modern World opened at Tate Britain last autumn only to close again days later, we might have felt then an echo of sensations and sentiments powerfully expressed in the exhibition itself. Its subject is the dirty cacophony of newly industrial Britain, the startling modernity of which is often neglected in discussions of Turner that focus instead on the visionary aspects of his style. Conceived as a counterpart to 2014's Late Turner: Painting Set Free, also at Tate Britain, this exhibition, by the same curatorial team, considers Turner as a creature of his age, when the Read more ...
Thomas H. Green
They stand in a row, nine of them, in a long, strange corridor between rows of stacked, palleted, planked wood and the red brick wall of an endless warehouse. Nine tripods, each two humans high, with a spinning helicopter head, double-ended by conical horns that emanate a gentle angelic howling or lower end drone-hums. Eyes closed – and being music-geeky about it – this carefully calibrated tonal concerto assails the ears somewhere between US mystic Laraaji’s processed gong experiments and the final ethereal works of Spacemen 3.But this is about the experience. Artist Ray Lee Read more ...
Markie Robson-Scott
Sheds have flourished in lockdown: they’ve always been places to escape to and in the past year, when spruced up as home offices, even more so. They’re also emblems of isolation. Poltergeist (main picture) and Doppelganger, the works that dominate Internal Objects, Rachel Whiteread’s powerful and moving new show at the Gagosian Gallery, imply isolation and are a vision of sheds destroyed, broken apart – structures that speak of a post-apocalyptic, unpeopled world. No home offices there.These are not her typical inside-out interiors cast in concrete, resin or steel, negative spaces Read more ...
Florence Hallett
It’s no surprise that 30 years on, the individuals most closely connected to the world’s biggest art heist are showing their age. Anne Hawley was a young woman just months into her directorship of the Isabella Stewart Gardner Museum in Boston when thieves made off with 13 works of art, including a Chinese vase and drawings by Degas, a Vermeer and Rembrandt’s only seascape.Speaking to the press soon afterwards, Hawley (main picture) was visibly shellshocked, desperation and disbelief mingled painfully in her comment that “I have to operate under the assumption that we are going to get these Read more ...
Florence Hallett
Sustainability and the environment are watchwords for the Prix Pictet, the international photography prize now in its ninth cycle. Since its launch in 2008, it has responded to the state of the world with urgency and compassion, its shortlists all the more intriguing for their oscillations between the universal and the personal, the global and the local.Last year, four of the 88 living photographers shortlisted for the prize to date were commissioned in a joint project with The Guardian, their brief to move beyond fast emerging Covid tropes, of “deserted cityscapes, overflowing hospitals Read more ...
Marina Vaizey
Pioneering is an attractive adjective in this context, alerting the spectator to what has been, over the past half century, an extraordinary body of contemporary ceramics produced by women. Underlying the notion of a gender-defined exhibition is a question: are there feminine characteristics to be looked for in an art form, if so what are they? Pots and bowls don’t sound very glamorous, alluring or exciting, rather prosaic, dull and quotidian. This is so in spite of the exalted sphere oriental ceramics have historically inhabited, or the recent flurry of interest surrounding artists such as Read more ...
theartsdesk
Unhappy as it is to be ending the year with museums and galleries closed, 2020 has had its triumphs, and there is plenty to look forward to in 2021. Two much anticipated exhibitions at the National Gallery were delayed and subject to closures and restrictions, but these seem relatively trivial inconveniences in the long lives of Titian’s "poesie", reunited after four centuries, or the paintings of Artemisia Gentileschi, brought together for the gallery’s first major exhibition dedicated to a female artist. These works of art, so fragile and yet so long-lived, helped to maintain a long view Read more ...
Sarah Kent
A person in a brown polo neck turns away, looking down (pictured below right). The encounter feels really intimate; we are almost breathing down this beautiful neck and exquisitely painted ear. Yet the subject retains their privacy; you can’t even be sure if this is a man or a woman.Lynette Yiadom-Boakye paints people, yet her pictures are not portraits. They are not drawn from life, but from her imagination and the store of images inhabiting her mind. Her subjects are not sitters, posing at her behest, but characters minding their own business and getting on with their lives. Such an Read more ...