Tate Britain
judith.flanders
John Martin is heaven. Well, as many of his contemporaries would have pointed out, John Martin is also hell, or The Last Judgement, or, as the Tate’s show title would have it, the Apocalypse at the very least. For John Martin was, after Turner, the 19th century’s premier painter of catastrophe. Unlike Turner, however, he was not much rated by the more respected critics, and his work, frequently oversized, tends to spend more time in storage than on the walls of public galleries. So all praise to the Tate, with good Martin holdings, for finally getting Martin back into public view with this Read more ...
Marina Vaizey
The sturdy, healthy, almost glowing attractiveness of Ruby Loftus, her reddish curls partly tamed by a green hair net, her face punctuated by bright-red lipstick characteristic of the 1940s, her blue overall neatly complementing her red shirt, and her expression intense and concentrated as she screws a breech ring as part of the manufacture of the Bofors gun at a factory in Newport, is a famously captivating image of the Home Front in the last world war.Dame Laura Knight’s painting Ruby Loftus Screwing a Breech-Ring, 1943 (main picture), a portrait of the young woman choreographed among her Read more ...
Marina Vaizey
Photography isn’t looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures. Thus Don McCullin, quoted on the information board of a new display at Tate Britain of around 50 black-and-white silver gelatin photographs, chosen and printed by the artist himself. No digital here, the process of the darkroom is under his control.The subjects cover anything but his direct war work, although his wholly justified fame rests on decades of hideous risk-taking (he was wounded several times and the lucky escapes Read more ...
fisun.guner
Who were the Vorticists? Were they significant? Were they any good? And does this little-known British avant-garde movement – if it can be called anything as cohesive - really deserve a major survey at Tate Britain? Many of the group’s paintings never survived the First World War, and nor did one of its most talented supporters, the precocious French sculptor Henri Gaudier-Brzeska; two of the most talented artists who did – David Bomberg and Jacob Epstein – were never signatories to its manifesto, and Epstein, for one, distanced himself; and, in its short life, there was only one Read more ...
fisun.guner
By anyone’s standards this is an obscure year for the Turner Prize shortlist: you should consider yourself a contemporary art aficionado if you’ve heard of even one of the artists. And if this is indeed the case, that artist is likely to be George Shaw; in recent years his work has featured regularly in group displays at Tate Britain. Shaw, a Coventry-born painter, was nominated for his Baltic Centre for Contemporary Art show, The Sly and Unseen Day. A pared-down version of this exhibition has now travelled to London, where it is beautifully and very simply hung in just one gallery space, at Read more ...
judith.flanders
Mostly the Venice Biennale passes me by entirely: ho-hum, another tired bit of Brit Art, I think, and turn the page. But Mike Nelson, twice nominated for the Turner Prize, is a terrific artist, too little seen, too odd, too unsettling to have been shown much in the mainstream. His selection is a boost – for him, I very much hope, but even more for the profile of British art. No more cringing when old-hat, old-school Emin or Hirst get wheeled out again, same old, same old.Certainly, same old is not something that can be said about Nelson. An installation artist, he creates what almost Read more ...
mark.hudson
A retrospective at Tate St Ives can be a poisoned chalice for the major artist. It postpones his or her prospect of a showing at Tate Britain by a couple of decades, and can appear to consign them to the comfort zone of "Cornish Art": the heritage Modernism of Barbara and Ben, Terry Frost, Patrick Heron et al, stuff we love (well, most of us) because it reminds us of being on holiday, but may feel, in our heart of hearts, to be more than a touch minor. On the positive side, Peter Lanyon, who was killed in a gliding accident in 1964, isn’t around to mind, and there’s something to be said Read more ...
mark.hudson
As Tate St Ives gears itself up for a major exhibition on the iconic Cornish painter Peter Lanyon – a show that will reinforce St Ives’s claims as a modern art Mecca – the artist’s son is responding with an exhibition that gently sends up the whole St Ives art mythology, while revealing a fascinating, but little known aspect of the town’s history.Born in 1918, Peter Lanyon created exhilaratingly airy abstract paintings, underpinned by a sense of something dark and primal beneath the surface of things – images that may have influenced the abstract expressionism of Pollock and de Kooning Read more ...