Visual Arts Reviews
A Century of the Artist's Studio, Whitechapel Gallery review - a voyeur's delightWednesday, 02 March 2022
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. Read more... |
Louise Bourgeois: The Woven Child, Hayward Gallery review - the wife, the mistress, the daughter and the art that came out of itSaturday, 12 February 2022
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.” Read more... |
America in Crisis, Saatchi Gallery review - a country in jeopardyFriday, 28 January 2022
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. Read more... |
Francis Bacon: Man and Beast, Royal Academy review – a life lived in extremisThursday, 27 January 2022
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. Read more... |
Paula Rego: The Forgotten, Victoria Miro review - relentless focusWednesday, 12 January 2022
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. Read more... |
Best of 2021: Visual ArtsTuesday, 28 December 2021
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. * Read more... |
Anselm Kiefer Pour Paul Celan, Grand Palais Éphémère, Paris review - an installation of rare profundityTuesday, 21 December 2021
The exhibitions of the German artist Anselm Kiefer have always been spectacular: large works with a numinous presence, often breath-taking and always mysterious. His new installation in Paris’s Grand Palais Ephémère, the temporary structure at the end of the Champ de Mars which stretches south from the Eiffel Tower, is perhaps the most ambitious work he has ever presented in a museum space. Read more... |
Kehinde Wiley, National Gallery review - more than meets the eyeFriday, 10 December 2021
American artist Kehinde Wiley may be best known for his photo-realist portrait of Barack Obama, but painting powerful black men is not the norm. More often he elevates people met on the street in Brooklyn, Dalston or Dakar to positions of pseudo authority by inserting them into pastiches of history paintings honouring the rich and powerful. Read more... |
The Courtauld Gallery - the old place, just betterThursday, 02 December 2021
The Courtauld Gallery’s dark corners have gone, and with them a certain apt melancholy, that effortlessly summoned the ghosts of Gauguin’s Nevermore, 1897, – the abused and exploited girls of Tahiti; and Delius, who had this painting in his house at Grez-sur-Loing. Read more... |
Lubaina Himid, Tate Modern review – more explication pleaseMonday, 29 November 2021
Lubaina Himid won the Turner Prize in 2017 for the retrospective she held jointly at Modern Art, Oxford and Spike Island, Bristol. My review of those shows ended with the question: “Which gallery will follow the examples of Oxford and Bristol and offer Lubaina Himid the London retrospective she so richly deserves?” Read more... |
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