sculpture
fisun.guner
Last year gave us three giants of Post-Impressionism. The Royal Academy promised to unveil the real Van Gogh by showing us the man of letters; Tate Modern delivered a sumptuous survey of Gauguin; and a significantly smaller but nonetheless intelligent and illuminating display at the Courtauld Gallery homed in on just one series of paintings in Cézanne’s oeuvre - the ambitious, masterly and compositionally complex The Card Players.So was 2010 the year of the blockbuster, or the moreishly bite-sized? OK, it's difficult - and a bit pointless - to make comparisons between exhibitions with such Read more ...
fisun.guner
There is probably only one thing that Ann Widdecombe and I have ever agreed upon: we both think it might be a really good idea to stick William Wilberforce on the Fourth Plinth. Why not? It’s nice to have contemporary art in Trafalgar Square, of course, but surely there are few other reforming characters as worthy as the great abolitionist? And Wilberforce was many other things besides – though not all of them would necessarily impress the nation to quite the same degree.In his youth – which here means before the age of 25 when he had already spent a year as a Tory MP in the county of Read more ...
Ismene Brown
A snaky conga of women in white pantsuits snuggling their loins together in a Spanish dance, and wiggling their way along a wall behind a Joseph Beuys installation may well be one of the indelible sights of my dance year. Mine, and that of only a few dozen other people, who happened to be in the right Tate Modern gallery at the right moment when this extraordinary little event took place.Trisha Brown is much less well known here than her colleagues Paul Taylor, Twyla Tharp and of course Merce Cunningham, but like Cunningham Brown was a child of the countryside in Washington State, and like Read more ...
igor.toronyilalic
Action-movie season ain't over quite yet, folks. Sure. OK. Over Your Cities Grass Will Grow isn't exactly your conventional salute to Armageddon. No guns, no baddies, no hot babes, no long-haired hunks. The pace is slow. The dialogue's pretty non-existent - and mostly European. The setting is pastoral. The soundtrack is Ligeti. It is, in fact, mostly pure, unadulterated arthouse. But still Sophie Fiennes's documentary portrait of artist Anselm Kiefer, I would contend, could also be seen as one of the finest action movies ever made. Certainly, it's got to be the only one to feature a Read more ...
fisun.guner
Famous for its fast cars, casino, and stashing away Sir Philip Green’s gazillions, the principality of Monaco certainly isn’t a destination short on bling, nor a sense of faded, somewhat seedy glamour. So it probably isn’t high on anyone’s list for culture, least of all for contemporary art. But things are definitely on the turn: a new museum offering a genuinely challenging programme of international contemporary art has recently opened.Nouveau Musée Nationale de Monaco (NMNM) is housed in two elegant Belle Époque villas: Villa Sauber, currently showing an exhibition of work by British- Read more ...
Jasper Rees
Our culture is hungry for stories of buried treasure, for the lost archive. So when something of startling value is brought blinking into the light after many years, it answers a romantic urge. Of course it doesn’t happen much any more, not in a digitised e-culture in which, like Puck in A Midsummer Night’s Dream, you really can put a girdle round the Earth in no time at all. Something interesting has just cropped up in Italy, mind.An artist called Pordenone Montanari put his house in Piedmont on sale. The name won’t mean anything. Montanari, now in his seventies, had been exhibited Read more ...
Adam Sweeting
I used to have a childhood fascination with the music of Herb Alpert, because I liked the tunes and always felt there was a hint of melancholy behind Herb’s breezy, nonchalant exterior. Everybody else found Alpert laughably cheesy, but happily, this excellent documentary proved that I was right all along by building a watertight case for regarding him as something of a neglected legend.Not neglected by the record-buying public, of course, because Alpert’s string of Tijuana Brass albums in the 1960s made him the top-earning act in the USA for a three-year period. In 1966, four of Read more ...
judith.flanders
Rachel Whiteread is best known for her exploration of space, of presence and absence, of how we look at what is present – and absent – in the textures of our lives. House, her life-sized cast of a house in a derelict street in East London, first brought her to fame, and more recently Untitled (Plinth), her mockingly affectionate take on the empty plinth in Trafalgar Square, a resin-cast replica of the plinth itself, literally shaped a new viewpoint of that absence in the heart of the West End. Now in two exhibitions of (mostly) drawings and some sculpture, the viewer can follow along, looking Read more ...
fisun.guner
A playful, subversive mood dominates the shortlist for Trafalgar Square’s Fourth Plinth. Most of the six proposals, in what is a very strong shortlist, play on notions of British identity, probing themes of heroism, heritage and conquest. The models, which include a cock (the winged variety), a cake and a kid on a rocking horse, were unveiled yesterday by Mayor Boris Johnson. Two winners will be selected next spring, with the first appearing on the Plinth at the end of next year. The six are: 1. Mariele Neudecker It’s Never Too Late and You Can’t Go Back A fictional mountainscape which, when Read more ...
judith.flanders
Many people use that weaselly phrase about Antony Gormley, saying he “divides the critics”. For the most part this is not true: for the most part the critics loathe Gormley’s work. They suggest he is either a bad figurative sculptor masquerading as a conceptual artist, or a bad conceptual artist masquerading as a figurative sculptor. This is really just a whinge that he doesn’t fit in a box, but so what? Perhaps more useful is to think of him as the little girl with the little curl, because when he is good he is very, very good - the installation at Crosby Beach - and when he is bad he is Read more ...
fisun.guner
These days, it seems that approaching any new Saatchi exhibition, especially one that promises to be even bigger than all the previous ones held at the multi-galleried, three-storey Chelsea venue, makes the heart fairly sink. How much bigger, you want to ask, and why use size as a measure of anything? Surely there isn’t enough headspace to accommodate all those loud, clamorous, “look-at-me” artworks favoured by Saatchi all in one go? And this is just Part One. Part Two will be something to look forward to in late October. I’m probably not alone in feeling this. After all, this isn’t the Read more ...
fisun.guner
Wood is a mysterious substance. We do not make it, it makes itself. It is useful to us, alive and dead. Without it, our history would not be the same. But it is so ever-present, so much a part of that history, that we rarely see the wood for the trees. David Nash has seen both the wood and the trees for years. To him, wood is life. The opening of this show says it all. Outside the first gallery is a huge eucalyptus, split into three by the sculptor. (Nash only works with “found” wood – from dead or dying trees, offcuts from tree-surgeons, or from wood yards – "wood Read more ...