Visual Arts Reviews
Points of Departure, Brighton Festival 2021 review - Ray Lee's harbour-based sound art impressesFriday, 07 May 2021
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. Read more... |
Rachel Whiteread: Internal Objects, Gagosian Gallery review - apocalyptic shedsThursday, 06 May 2021
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. Read more... |
This is a Robbery: The World's Biggest Art Heist, Netflix - the last word (for now)Thursday, 08 April 2021
It’s no surprise that 30 years on, the individuals most closely connected to the world’s biggest art heist are showing their age. Read more... |
Prix Pictet: Confinement review - a year in photographsThursday, 18 March 2021
Sustainability and the environment are watchwords for the Prix Pictet, the international photography prize now in its ninth cycle. Read more... |
Pioneering Women, Oxford Ceramics Gallery online review - domestic pleasuresWednesday, 03 March 2021
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. Read more... |
Best of 2020: Visual ArtsTuesday, 29 December 2020
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. Read more... |
Lynette Yiadom-Boakye, Tate Britain review - enigmatic figures full of lifeWednesday, 16 December 2020
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. Read more... |
Tracey Emin / Edvard Munch, Royal Academy review - juxtapositions that confuse rather than clarifyTuesday, 15 December 2020
Even before going to art school, Tracey Emin discovered the work of the Norwegian expressionist Edvard Munch. And even though he was born 100 years before her, she embraced him as a kindred spirit. One can see why. Read more... |
Zanele Muholi, Tate Modern review - photography as protestWednesday, 02 December 2020
Hail the Dark Lioness (Somnyama Ngonyama in Zulu) is a powerful celebration of black identity. These dramatic assertions of selfhood are more than just striking self portraits, though. Read more... |
Michael Clark: Cosmic Dancer, Barbican Art Gallery review - mould-breaker, ground-shakerMonday, 12 October 2020
It must be tough being Michael Clark, subject of one the largest retrospectives ever dedicated to a choreographer still living. Post-punk’s poster boy is that curious thing, a creative figurehead who defined a very particular anti-establishment strand in Britain’s recent history but who is virtually unknown to today’s under-40s. Michael who? Read more... |
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