Whitechapel Gallery
fisun.guner
From an apparently simple idea stems a very confusing exhibition. Here’s the idea: taking the seminal black square painted by Russian artist Kazimir Malevich as its starting point – in fact, a rectangle, with the small and undated Black Quadrilateral the first of three Malevich paintings – we are invited, over the span of a century and across a number of continents, to explore the evolution of geometric abstraction and its relation to “ideas of utopia”. So far so good. Or maybe not. Perhaps the time frame hints at the problem: the way it jumps, without pause, from those modernist isms Read more ...
Florence Hallett
It could be an aircraft, hastily covered with some very inadequate wrappings and squeezed into the great hangar of the Turbine Hall. Or perhaps an eccentric sort of bird, its bedraggled wings missing chunks of orange plumage, in contrast to its plush, red body. Or perhaps it is part of a stage set with extravagant swags of red fabric carefully arranged to look, fleetingly, like theatre curtains, or pieces of scenery either under construction or partially wrapped, ready to be put away.Pulled and gathered at points, the towering red central section of this vast new sculpture sometimes resembles Read more ...
fisun.guner
If you’re not already familiar with at least some aspects of Chris Marker’s work, this exhibition will feel overwhelming, if not confusing. You may have to pay a second visit to get the most out of it, or even make sense of it. It’s certainly a demanding retrospective of the influential French filmmaker, and an immersive "surround-screen" gallery survey probably isn’t the best introduction.Still, I feel compelled to commend the ambitions of the Whitechapel Gallery in bringing Marker’s work to wider public attention and doing its best to highlight themes across a life’s work (“career” is a Read more ...
fisun.guner
What once appeared daring and transgressive will often barely raise an eyebrow given time. This much is obvious – or at least up to a point, since much avant-garde art continues to challenge and/or bemuse well into the 21st century. But the reverse can also be true. What was once produced as a work typical of its time can now make us feel very uncomfortable. Hannah Höch was a member of Berlin Dada in the years immediately following the First World War. These were the Weimar years in which artists who were later denounced as degenerate by the Nazi regime produced scabrous attacks on Read more ...
fisun.guner
I read someone recently describe Sarah Lucas’s sculptures as “aggressive”. Perhaps being greeted by a roomful of huge plaster cocks, mechanised wanking arms and greasy doner kebabs with two fried eggs in an abject arrangement of the female sex can feel a little confrontational, but aggressive? There’s surely something deflecting and bluntly one-note when it comes to the merely aggressive. “Aggressive” rarely lets other emotions in, and Lucas’s work is a many shaded affair.There’s lots of humour for a start. And like all the best humour, at least British humour, behind the slapstick there's Read more ...
Sarah Kent
Some artists seem to need a reality check. The Spirit of Utopia is billed as a show of artists “who speculate on alternative futures for society, the economy and the environment”; but anyone anticipating cogent analysis or visionary ideas will be disappointed. The exhibition consists of a bunch of dreamers who imagine that an art context gives social significance to weak or wacky ideas. It doesn’t.Theaster Gates believes a gallery “should be an open space that questions modes of production, systems of power, and access to the imagination for everyone” – a laudable goal that should inspire Read more ...
Marina Vaizey
The first major retrospective of the videos, photographs and sculptures of Gillian Wearing is a deeply disturbing experience. Her videos can be just a few minutes, or as long as an hour, but are not sequential narratives. They can be dipped in and out of - unlike many video artists you do not have to acquiesce to her time scale. But take a lot of time: they are more than worth it, and repay repeated viewings.Throughout she plays with notions of truth and deception. People speak with voices not their own; in later work both her subjects and her accurately entitled self portraits are masked Read more ...
mark.hudson
Exhibitions with titles appended "in Britain" or "and Britain" tend to be the kiss of death: indicating concentration on a brief and insignificant visit, on the subject’s impact on British art or – even worse – the influence of local collectors on his or her reputation. With Mark Rothko, though, it has to be different. The New York abstractionist’s current near-sacred status is such that a show of his dog-ends and nail clippings would probably prove a major draw.Indeed, the sheer incongruity of the grouchy high priest of Colour Field Painting being in Britain at all, never mind socialising in Read more ...
Marina Vaizey
In Düsseldorf in the 1970s there was an astonishing art academy, the Kunstakademie, with amazing teachers – and amazing students. Düsseldorf was a proud art city, and published at the time a book of photographs called Düsseldorf City of Artists. The presence of that great messianic leader Joseph Beuys loomed large. Gerhard Richter (and Gotthard Graubner among others) taught painting, and an outstanding couple, Bernd and Hilla Becher, taught photography and photographed anonymous industrial architecture in black and white. Germany rejoined and even led the avant-garde that it had destroyed in 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 ...
judith.flanders
Fred Sandback is one of the great overlooked of the Minimalist movement that developed in the 1960s. Both those words are important – “great” and “overlooked”: his work is genuinely great, and part of its greatness is the way it has overlooking built into it.At its most basic, Sandback created geometrical shapes out of string (pictured below right: photo, Fred Sandback Archive). Using mostly an acrylic yarn, slightly fuzzy, and coloured as appropriate, Sandback “built” sculpture with volume but without mass, sculpture that, unlike traditional works, had no interior. Instead, the yarn builds Read more ...
fisun.guner
What a troubled life Alice Neel led. The death of her first child, a daughter, who died of diphtheria in 1928 just before her first birthday; another daughter lost to her estranged husband’s family in Cuba two years later (as an adult and a mother herself, the daughter, Isabetta, committed suicide); life as a single mother raising two later sons on welfare in the slum district of New York's Spanish Harlem; and a neglected but always diligent artist for much of the rest of it, only achieving fame and acclaim towards the end.And yet we find her, in variously dated archive footage featured Read more ...