Visual Arts Reviews
Jannis Kounellis, Ambika P3Thursday, 29 April 2010
Last year, visitors to Tate Modern’s Artists’ Rooms could see a room dedicated to Jannis Kounellis. It was filled with some of his most resonant work: a door filled up with drystone walling; burlap sacks of grain, rice, pulses; metal bells. For a founder-member of the Arte Povera movement, it was surprisingly bucolic. |
The Concise Dictionary of Dress, Artangel at Blythe HouseTuesday, 27 April 2010
Judith Clark is a fashion curator, Adam Phillips a psychoanalyst and writer. In collaboration with Artangel, that font of innovative artistic commissions (including Rachel Whiteread’s House, Michael... Read more... |
Fra Angelico to Leonardo: Italian Renaissance Drawings, British MuseumSaturday, 24 April 2010
This superb exhibition of Italian Renaissance drawings, featuring 100 works and chosen from the outstanding graphic collections of the Uffizi and the British Museum, explores the evolution of the preparatory sketch in the 15th century. We learn how artists began to experiment with the medium in order to create finished paintings that were far more compositionally and stylistically ambitious, far more dramatic and full of movement, than anything that had come before. And though the drawings... Read more... |
Goldsmiths: But is it Art? BBC FourTuesday, 13 April 2010
Goldsmiths has produced 20 Turner Prize winners. It produced Damien Hirst and the majority of the Brit Art pack that caused such a Nineties sensation. It has attracted some pretty impressive tutors to its fine art department – ground-breaking artists in their own right, in fact. As such, the school is considered to be something of a star in itself. So what’s its secret? This BBC Four two-parter aimed to find out - and, you’ve guessed it, in keeping with a certain jaunty documentary-making... Read more... |
Anthony Caro: Upright Sculptures, Annely JudaMonday, 12 April 2010
Anthony Caro makes works with the human figure in mind. The venerated sculptor, who, at 86, remains seemingly unstoppable, came to prominence in the early Sixties with his brightly coloured abstract steel sculptures. These, such as his seminal 1962 work, Early One Morning – an open-form sculpture of welded steel plates and delicately balancing rods painted in bright red – chimed with an era of optimism and confidence. Any figurative references were entirely incidental. Read more... |
Angela de la Cruz/ Anna Maria Maiolino, Camden Arts CentreFriday, 02 April 2010
Acts of wanton destruction appear to have taken place at Camden Arts Centre, as canvases lie crushed, ripped, crumpled and broken. Monochrome and minimalist works have had their stretchers, their very backbones, ripped and cracked in two, and their once taut, painted surfaces hang, in some instances, like flayed skin. Their broken carcasses are arranged in a seemingly haphazard fashion, hanging precariously from walls or stuffed into corners. They lie forlornly on the floor, or are pushed with... Read more... |
NightwatchingFriday, 26 March 2010
How might a portraitist, working in oils, describe Martin Freeman's face? If one were a novelist, heavy with description, perhaps the following: fleshy, boneless features; pasty Northern European pallor; flesh the texture of sweaty suet pudding. Not, then, conventionally handsome, but still, we have those plaintive, expressive eyes and that rumpled yet quietly dignified presence. Read more... |
Quilts 1700-2010, Victoria & Albert MuseumWednesday, 24 March 2010
The notion of women’s work has undergone a revolution, and yet that revolution has, in many ways, come comfortably full circle. We may now celebrate the work of generations of women who, limited to the domestic realm, were perhaps also liberated by the creative potential of the domestic crafts, and specifically, needlecraft. Which is a fairly radical notion in itself. |
Richard Hamilton: Modern Moral Matters, Serpentine GalleryThursday, 18 March 2010
Richard Hamilton, the true father of Pop art and spiritual descendant of Duchamp, is not a particularly prolific artist. Rather, he sticks to an idea and works on it over several editions and in different media, so that we get a large body of work repeating the same image in paint, in collage, in photography and in mixed media. Read more... |
The Culture Show: Henry Moore, BBC TwoThursday, 18 March 2010
What emerges from tonight’s Culture Show on Henry Moore, which examines how the sculptor exploited the media (and vice versa), is not the difference between the media of sculpture and television but the similarity. |
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