Visual Arts Reviews
David Hockney: Drawing from Life, National Portrait Gallery review - an anatomy of loveFriday, 28 February 2020
For David Hockney, drawing is born out of familiarity: his portraits both express and fulfil the urge to know someone deeply and well.
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Masculinities: Liberation through Photography, Barbican review – a must-see exhibitionMonday, 24 February 2020
The exhibition starts on the Barbican’s lift doors, which are emblazoned with photographs from the show. They include one of my all-time favourites: Herb Ritts’s Fred with Tyres 1984 (pictured below right), a fashion shoot of a young body builder posing as a garage mechanic, in greasy overalls. Despite his powerful muscles, he looks tired and petulant. Read more... |
Steve McQueen, Tate Modern review – films that stick in the mindFriday, 14 February 2020
The screen is filled with the head and shoulders of a man lying on his back; he could be dead in the morgue or lying on the analyst’s couch. He doesn’t move (it’s a still), but we hear his voice recounting the terrible story of the day he accidentally killed his brother. Read more... |
Radical Figures: Painting in the New Millennium, Whitechapel review - ten distinctive voicesTuesday, 11 February 2020
“From today, painting is dead.” These melodramatic words were uttered by French painter, Paul Delaroche on seeing a photograph for the first time. That was in 1840 and, since then, painting has been declared dead many times over, yet it refuses to give up the ghost. Read more... |
Darren Waterston: Filthy Lucre, V&A review - a timely look at the value of artSaturday, 08 February 2020
It looks as if vandals have ransacked Whistler's Peacock Room. The famous interior was commissioned in the 1870s by shipping magnate, Frederick Richard Leyland to show off his collection of fine porcelain. The specially designed shelves have been broken and their contents smashed; shards of pottery lie strewn across the floor. Read more... |
Imran Perretta, Chisenhale Gallery review - a deeply affecting filmTuesday, 04 February 2020
“I forgive you,” he said. “I forgive you… for the bombs.” Spoken by a young Muslim in measured tones that can’t hide his fear, these chilling words recall a random encounter with a stranger. Read more... |
Picasso and Paper, Royal Academy review - the most versatile of materialsThursday, 30 January 2020
Even more than most, Picasso exhibitions need a focus: he was so prolific and diverse that the alternative is neither practical nor comprehensible. Read more... |
Best of 2019: Visual ArtsTuesday, 31 December 2019
Notable anniversaries provided the ballast for this year’s raft of exhibitions; none was dead weight, though, with shows dedicated to Rembrandt, Leonardo and... Read more... |
Caravaggio & Bernini, Kunsthistorisches Museum, Vienna - high emotion in 17th century RomeSaturday, 14 December 2019
It doesn’t matter where you stand, whether you crouch, or teeter on tiptoe: looking into the eyes of Bernini’s Medusa, 1638-40, is impossible. The attempt is peculiarly exhilarating, a game of dare made simultaneously tantalising and absurd by the sculpture’s evident stoniness. Read more... |
Dora Maar, Tate Modern review - how women disappearWednesday, 27 November 2019
In one of Dora Maar’s best known images, a fashion photograph from 1935 (pictured below), a woman wearing a backless, sparkly evening gown appears to be making her way backstage through a proscenium’s drapes. The star of the show exits the limelight, cheekily concealing her face behind a six-pointed star snatched, maybe, from the star-spangled scenery. Read more... |
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