wed 08/10/2025

Visual Arts Reviews

First Happenings: Adrian Henri in the ’60s and ’70s, ICA

Markie Robson-Scott

If you bought a Beatles album in the Sixties, chances are you also bought The Mersey Sound, that best-selling collection of poems by the Liverpool poets Brian Patten, Roger McGough and Adrian Henri. It was launched at the Cavern Club in 1967 to musical accompaniment. Their poems felt new, accessible and exciting. "Love is feeling cold in the back of vans," wrote Henri, "Love is a fanclub with only two fans / Love is walking holding paintstained hands / Love is /."

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Christian Marclay, White Cube

Sarah Kent

Christian Marclay is best known as the author of Video Quartet, 2002 the most exciting artist’s video ever made. The four-screen extravaganza juxtaposes more than 700 clips from Hollywood movies of people singing, dancing and playing instruments not to mention screaming, whistling or smashing crockery.

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Marlene Dumas: The Image as Burden, Tate Modern

Sarah Kent

"My fatherland is South Africa, my mother tongue is Afrikaans, my surname is French, I don’t speak French. My mother always wanted me to go to Paris. She thought art was French because of Picasso. I thought art was American because of Artforum... I live in Amsterdam and have a Dutch passport. Sometimes I think I’m not a real artist because I’m too half-hearted and I never quite know where I am." (Marlene Dumas)

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Rubens and His Legacy, Royal Academy

Florence Hallett

What does it mean to be a great artist? Is it enough for your work to be admired, studied, emulated and quoted by contemporaries and subsequent generations, or is the value of art judged by a more complex set of criteria? By considering the extent of Rubens’ influence on artists from Rembrandt to Klimt, the Royal Academy is having a go at skinning a very old and troublesome cat: the elevation of Rubens from gifted confectioner to worthy Old Master.

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PJ Harvey: Recording in Progress, Artangel at Somerset House

mark Kidel

Artangel continues to instigate extraordinary events in extraordinary places. Over the past two decades and more, directors Michael Morris and James Lingwood have helped generate major and ground-breaking work by Rachel Whiteread, Brian Eno, Laurie Anderson, Roni Horn, Jeremy Deller, Steve McQueen, Matthew Barney, Gregor Schneider, Francis Alÿs and many others. It's a long list.

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Adventures of the Black Square: Abstract Art and Society 1915-2015, Whitechapel Gallery

Fisun Güner

From an apparently simple idea stems a very confusing exhibition. Here’s the idea: taking the seminal black square painted by Russian artist Kazimir Malevich as its starting point – in fact, a rectangle, with the small and undated Black Quadrilateral the first of three Malevich paintings – we are invited, over the span of a century and across a number of continents, to explore the evolution of geometric abstraction and its relation to “ideas of utopia”.  

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National Gallery

Marina Vaizey

The octogenarian Frederick Wiseman is a cult documentary film maker, with his own idiosyncratic and recognisable idiom. He has both vast experience and extraordinary independence. Characteristically, he makes long, prize-winning, fly-on-the-wall inside-the-institution films: reportorial, non-judgemental, loosely narrative, and wide in subject – from a hospital for the criminally insane, to a high school, the largest university in California (Berkeley), or the Paris Opera Ballet.

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Rubens: An Extra Large Story, BBC Two

Marina Vaizey

The ebullient presenter, writer and director Waldemar Januszczak opens his enthusiastic and proselytising hour-long film on Sir Peter Paul Rubens (1577-1640) by reading out a series of disparaging quotes from other artists.

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The Great Museum

Marina Vaizey

I don’t think any of us will look at a museum in quite the same way after this dazzling documentary. For several years the Austrian film-maker Johannes Holzhausen and his team followed what seems to be scores of the working staff  inhabiting Vienna's Kunsthistorisches Museum (KMH), as they physically cared for the remarkable objects in their care, worried about how best to put them on view for the public, and met continually to discuss museum matters.

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Maggi Hambling, National Gallery

Florence Hallett

I must admit to feeling, briefly, just a little disappointed on first sight of Maggi Hambling’s Walls of Water, nine new paintings on show at the National Gallery. Perhaps it was the evocative title, which promises high drama and instant gratification, something obviously and extravagantly impressive. In short, I was expecting something bigger, an absurd statement because eight out of the nine canvases measure more than six by seven feet. And yet, they are small.

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