wed 25/12/2024

Visual Arts Reviews

Mondrian, Turner Contemporary/ Tate Liverpool

Fisun Güner

It’s 70 years since Mondrian died in New York, leaving unfinished his last painting, Victory Boogie-Woogie, an ebullient title quite at odds with the buttoned-up asceticism we normally associate with this artist. The Courtauld Gallery showed a small survey two years ago, which paired his flat grid compositions with the paintings and white reliefs of Ben Nicholson, focusing only on his two years in London (1938 to 1940).

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The Golden Cockerel, Diaghilev Festival, London Coliseum

David Nice

Rimsky-Korsakov’s bizarre final fantasy, puffing up Pushkin's short verse-tale to unorthodox proportions, has done better in Britain than any of his other operatic fairy-tales. That probably has something to do with its appearance in Paris, six years after the composer’s death in 1908, courtesy of a brave new experiment marshalled by that chameleonic impresario Sergei Diaghilev.

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Ryan Gander: Make every show like it's your last, Manchester Art Gallery

Mark Sheerin

When Ryan Gander’s wife wanted a designer lamp, the versatile artist knocked one up from junk. She was so impressed he sold it as an artwork and by now has made 55 in his garden shed. Three are here in Manchester, made from foil food trays, a guitar stand and concrete. These pieces are quite unrepresentative of the rest of this highly conceptual show, but in a diverse, major survey there appears to be no truly representative way in.

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Digital Revolution, The Curve, Barbican

Sarah Kent

Digital Revolution begins with an archive section taking you back to the 1970s when Ralph Baer developed a video game allowing punters to play ping pong on TV (below right: poster for the original Pong arcade game) and Steve Jobs worked on Break Out, in which a virtual ball bounces off a bank of horizontal lines.

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Making Colour, National Gallery

Florence Hallett

The National Gallery has a range of personas it adopts for its exhibitions, and for this one, about colour, it has deployed the po-faced, teachy one. The pompous tone is because it’s not just about art this time, there’s science in it, which makes it extra serious.

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Dennis Hopper: The Lost Album, Royal Academy

Jasper Rees

From Apocalypse Now to Blue Velvet to Speed, as a screen presence Dennis Hopper grew ever more scary. Lately gallery-goers have got to know another side of Hopper via his painting. Now there is a belated run-out for his work as a photographer, although work is maybe the wrong word. He spent much of the Sixties with a camera slung round his neck, but didn’t make a dime from any of his pictures.

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Bridget Riley: The Stripe Paintings, David Zwirner

Fisun Güner

Bridget Riley’s mural for St Mary’s Hospital in Paddington, which was unveiled in April this year, is something I’ve seen only in photographs. And on seeing it for the first time my reaction, I’m afraid, was, “Oh no". It obviously didn’t help that the photographer had wildly exaggerated the one-point perspective, so that the parallel lines of two facing walls converging sharply made you feel the vertiginous pull of a rabbit hole.

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Franz West: Where is My Eight, Hepworth Wakefield

Mark Sheerin

The windows of Hepworth Wakefield command some attractive views, and for the present show looking out the window might even be a valid alternative to looking at the work. Curator Eva Badura-Triska reports that Austrian artist Franz West was a believer in the aura or the atmosphere of an art work. It hardly matters where you look. As if to prove the point there are installations which include chairs facing away from the work, or sofas angled to provide little point of focus.

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The Human Factor, Hayward Gallery

Fisun Güner

When a large and ambitious group exhibition is mounted on a particular theme or subject, in this case the human figure in contemporary sculpture, it’s always interesting to note what gets left out as well as what goes in. It’s reasonable to ask what story is being promoted under the heading of a general survey. Here are 25 sculptors, all but one from Europe and America, spanning the past 25 years.

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Art and Life: Ben and Winifred Nicholson, Dulwich Picture Gallery

Florence Hallett

At the risk of sounding crass, I can’t help feeling that had Winifred Nicholson painted fewer flowers she might be better represented in the annals of art history. Of course, being a woman hasn’t helped, but as a woman flower painter she was ever destined for the footnotes.

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