Visual Arts Reviews
The Bride and the Bachelors, Barbican Art GalleryMonday, 18 February 2013
It is often argued that Marcel Duchamp is the single most influential artist of the 20th century, and that Fountain, the porcelain urinal he signed R. Mutt and presented to the world in 1917, the single most influential artwork. But that’s not quite the whole picture. Read more...
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Becoming Picasso: Paris 1901, Courtauld GalleryMonday, 18 February 2013
In Yo Picasso!, a self-portrait from 1901 (pictured below, Private Collection), the 19-year-old Picasso is already projecting an inimitable bravura, emphasised by his dashing orange cravat. He looks out at us with that mesmerising and legendary, unwavering and intimidating stare he made his own. Even at the time, critical responses noted his courage and confidence. He had made the first of his several moves to Paris in the spring of that year. Read more... |
Through American Eyes: Frederic Church and the Landscape Oil Sketch, National GalleryFriday, 08 February 2013
Pre-Raphaelites, eat your heart out; and wherever he is, John Ruskin, once so dismissive of the artist, must be beaming with pleasure. The American landscape painter Frederic Church (1826-1900) was indeed seen as the heir to Turner, and his distinct landscape idiom is encapsulated by a handful of oil sketches – just over two dozen – of scenes from the Hudson River Valley to Petra, Ecuador to Newfoundland, Bavaria to Salzburg, Jamaica to Labrador. Read more... |
Man Ray Portraits, National Portrait GalleryThursday, 07 February 2013
Travelling through Canada by train – more decades ago than I care to divulge here – I bought a book of Man Ray photographs at Banff in the heart of the Rockies. I spent the rest of the journey with one eye on the majestic mountains, and the other glued to the luminous, edgy, ineffably stylish images of the American surrealist in Paris. Read more... |
Ice Age Art: Arrival of the Modern Mind, British MuseumWednesday, 06 February 2013
Prehistory – human life before written language - enters art’s mainstream with this seminal and eye-opening exhibition. This one-off show, amplified by excellent labelling and atmospheric lighting, is enormously ambitious: the largest anthology of portable prehistoric European art there has ever been, unprecedented in its scope with artefacts from museums in Russia, Germany, France, and the Czech Republic, homes to the greatest of the sites. Read more... |
Carl Andre / Rosa Barba, Turner ContemporaryMonday, 04 February 2013
What a different country the past is. When one thinks of all the famous art works that caused an outrage when they were first unveiled and yet we now admire as ground-breaking and consider “seminal”. It’s probably everything that ever caused a critic of the old guard to sneer and that much maligned member of the unsuspecting public to have a fainting fit. Read more... |
Juergen Teller: Woo!, ICAMonday, 04 February 2013
Crossover isn’t the half of it. Not since Helmut Newton has a photographer operated so successfully in both the worlds of celebrity high fashion and the world of art. Read more... |
Bruce Nauman: Mindfuck / Eva Hesse 1965, Hauser & Wirth, LondonFriday, 01 February 2013
Bruce Nauman is a great synthesizer of art forms, melding the language games of conceptual art with the physicality of post-minimalist sculpture and performance art. Where the minimalists duplicated the serial and repetitive industrial world around them, Nauman’s use of repetition and order have a linguistic basis. Inculcation, jokes, paradoxes and puns form the logic of much of Nauman’s work and these games grew out of his choreographed minimalist performances. Read more... |
Schwitters in Britain, Tate BritainWednesday, 30 January 2013
The Pop Art collages of Richard Hamilton and Eduardo Paolozzi and, more recently, the wayward sculptures and installations of artists like Phyllida Barlow would be unthinkable without the inspirational presence in Britain of Kurt Schwitters. Yet the German emigré is hardly a household name. Read more... |
Light Show, Hayward GalleryTuesday, 29 January 2013
Central to this thoughtful show is not really the use of light in art per se but how light appropriately serves a post-minimalist shift from the work of art to the environment itself. For the most part, the works here endeavour to shape the space around us or invoke a response on a physiological level. Read more... |
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