Visual Arts Reviews
Phyllida Barlow: Dock, Tate BritainWednesday, 02 April 2014
The revamping of Tate Britain has produced such an atmosphere of understated elegance that one hardly dares breathe for fear of displacing a particle of dust. An air of suffocating sterility has seeped into the displays, which are so tastefully arranged that even the most passionate works are drained of emotion; and without a ripple of feeling ruffling the exquisite calm of these genteel waters, British art appears unrelentingly polite – and provincial. Read more...
|
Miroslaw Balka, White Cube/ Freud MuseumMonday, 31 March 2014
Perhaps my big mistake was to read the exhibition blurb before going in: as someone who worries about dark, confined spaces, I was anticipating Miroslaw Balka’s new installation with a perverse sort of excitement. Certainly, for anyone who enjoys a dose of controlled terror Above your head sounds promising, with White Cube’s basement gallery supposedly transformed into a “large cage” and the ceiling lowered to a claustrophobic two metres. Read more... |
theartsdesk in Calais: Monument, Musée des Beaux-ArtsSunday, 30 March 2014
Were it not for the bombs which rained down on Calais, its current Musée des Beaux-Arts would not exist. The 1966 building was part of a civic reconstruction programme, so it too is a war memorial of sorts. And it's now playing host to an exhibition dedicated to the idea of the monument which looks to commemorate the two world wars. Read more... |
William Kent: Designing Georgian Britain, Victoria & Albert MuseumTuesday, 25 March 2014
Initiating the tercentenary of the arrival of the Hanoverians and thus the foundation of our German royal family, this startling and beguiling exhibition of the work of the polymath William Kent (1685-1748) crams 200 objects – drawings, paintings, plans, photographs, furniture, illustrations, models – into an illusionistic array of gauzy rooms, evocative of real interiors. Read more... |
Cézanne and The Modern, Ashmolean MuseumSunday, 23 March 2014
Has any artist ever painted an apple that gets as close to the essence of appleness as Cézanne? I don’t think so. Cézanne’s apples are the equivalent of William Carlos Williams’s cold, sweet plums. Not only can you almost taste Cézanne’s apples but you can sense their weight, their density. And in your mind, you touch their smooth, waxy skins. Read more... |
Veronese: Magnificence in Renaissance Venice, National GalleryThursday, 20 March 2014
The National Gallery has produced a revelatory and unprecedented exhibition which shows us an array of paintings from cabinet size to mammoth by a long acknowledged star: Veronese, probably the most flamboyantly exciting artist at the heart of the Renaissance in Venice. Read more... |
Renaissance Impressions, Royal AcademyTuesday, 18 March 2014
Georg Baselitz might seem an unlikely connoisseur of 16th-century prints, but since the Sixties the controversial German artist has amassed a collection of chiaroscuro woodcuts to rival that of any museum. Read more... |
theartsdesk in Bilbao: Yoko Ono at the Guggenheim MuseumSunday, 16 March 2014
Addressing a crowd of journalists gathered at the press launch of her major retrospective at the Guggenheim Bilbao, Yoko Ono begins by telling us how cynical she is. It’s quite a claim considering it’s just about the last thing you’d ever think to call her. Perhaps she’s finally tired of being dismissed as a naive idealist. Read more... |
Georg Baselitz, Gagosian Gallery/British MuseumWednesday, 12 March 2014
Georg Baselitz, the veteran German artist who likes to bait, provoke and raise hackles, most recently with an interview in Der Spiegel in which he said women artists couldn’t paint (he mentioned the few exceptions, which was generous of him), is enjoying a triple billing in London. Read more... |
Hito Steyerl, ICAMonday, 10 March 2014
Hito Steyerl is a cool cookie. As well as studying film and television in Munich, she gained a PhD in philosophy from the Academy of Fine Arts in Vienna, and her intelligence shines through in every magical frame of her videos. Three are on show at the ICA along with two recorded talks in which she uses words and pictures to spin beguiling tales that – part fact, part fancy – operate in the space between lecture and performance. Read more... |
Pages
latest in today
theartsdesk Q&A: director Jacques Audiard on his Mexican...
Jacques Audiard – creator of such subversive crime dramas and alternative romances as Read My Lips (2001), The Beat That My Heart...
The Wild Duck, The Norwegian Ibsen Company, Coronet Theatre...
“I think this is all very strange,” declares 14-year-old Hedvig Ekdal at the end of The Wild Duck’s third act, just as everything is...
Albert Herring, Scottish Opera review - fun, frivolity, and...
Having premiered at the Lammermuir Festival earlier this year, Daisy Evans’s new production of...
Album: Underworld - Strawberry Hotel
Purveyors of extraordinary energy and euphoria, Underworld never miss a beat. The new album – 30 years on from their debut, and their...
London Film Festival 2024 - Angelina Jolie does Maria Callas
Maria
How do you solve a problem like Maria?...
Encounters, Royal Ballet review - exciting mixed bill with a...
In 2022, the American choreographer Pam Tanowitz made a duet on...
Emilia Perez review - Audiard's beguiling musical tribu...
A Mexican drugs cartel boss. A transitioning man. A strikingly beautiful woman lawyer risking all against corruption. Bittersweet songs...
First Person: Bob Riley on Manchester Camerata's champi...
In May, it was announced that Greater Manchester was to...
Dahomey review - return of the king
Mati Diop’s “speculative documentary” reverses the transatlantic journey of her feature debut Atlantics’ ghost Senegalese migrants, as...