Visual Arts Reviews
Art and Life: Ben and Winifred Nicholson, Dulwich Picture GallerySaturday, 14 June 2014
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. Read more... |
British Folk Art, Tate BritainWednesday, 11 June 2014
I agreed with some reluctance to review British Folk Art, since I anticipated an overdose of quaint charm, naive whimsy and endearing eccentricity. You know the kind of thing – fire screens embroidered with overblown flowers and paintings of fat porkers, faithful dogs or stallions galloping like rocking horses. Read more... |
John Deakin and the Lure of Soho, Photographers' GalleryTuesday, 27 May 2014
John Deakin was lukewarm about his career as a photographer because his heart wasn’t in it. Really, he wanted to be a painter, and so it was in spite of himself that he became a staff photographer at Vogue in 1947, acquiring a reputation for innovative portraiture and fashion work. Read more... |
William Forsythe: Nowhere and Everywhere, Old Municipal Market, BrightonTuesday, 20 May 2014
On the morning I visited William Forsythe's installation there was a fire truck parked up on Circus Street. Its crew were all in the Old Municipal Market, taking in the art and, like everyone else, interacting with the kinetic sculptural elements. It is the stuff of arts outreach programme fantasies. Read more... |
The Story of Women and Art, BBC TwoSaturday, 17 May 2014
Last year, the German artist Georg Baselitz told Der Spiegel: “Women don't paint very well. It's a fact,” citing as evidence the failure of works by female artists to sell for the massive sums raised by their male counterparts. The amusing punchline to that story is that shortly afterwards a Berthe Morisot painting sold at auction for more than double the amount ever achieved by Baselitz himself. But be honest - come on, use your fingers - how many women artists can you think of? Read more... |
Hernan Bas: Memphis Living, Victoria MiroMonday, 12 May 2014
At the core of Memphis Living by Hernan Bas are five large paintings of equal size that could be blown-up spreads from a fashion magazine. Each features a modellish young man surrounded by statement architecture, iconic design and lush vegetation. But in the way their backgrounds tend toward abstraction, Bas confuses the viewer and confounds the lifestyle imagery. Read more... |
Building the Picture, National GalleryWednesday, 07 May 2014
Viewed through an arch designed to evoke a dimly lit chapel, Lorenzo Costa and Gianfrancesco Maineri’s The Virgin and Child with Saints, 1498-1500, is strikingly legible (pictured below right). The Virgin sits on a marble throne beneath a richly decorated arch, the throne’s fictive architecture covered with panels depicting Biblical scenes, the infant Christ standing precariously on his mother’s knee. Read more... |
Body & Void: Echoes of Moore in Contemporary Sculpture, Henry Moore FoundationSunday, 04 May 2014
The lawns, fields, meadows and sheds of the Henry Moore Foundation themselves exemplify the notion of in-and-out, exterior-interior and are thus the ideal setting for exploring the notion of body and void in Moore’s work and the way it is echoed in the sculpture of succeeding generations. Read more... |
Julian Schnabel: Every Angel has a Dark Side, Dairy Art CentreSaturday, 26 April 2014
“Occasionally, but rarely, great imaginative leaps take place in the progression of art that seem to have come from nowhere. This can be said of Julian Schnabel….In these early paintings Schnabel worked with materials on surfaces that had never been used before....The sheer originality of Schnabel’s vision struck the art world explosively.” Read more... |
Chris Marker: A Grin Without A Cat, Whitechapel GallerySunday, 20 April 2014
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. Read more... |
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