Visual Arts Reviews

Conflict, Time, Photography, Tate Modern

Marina Vaizey Sunday, 30 November 2014

This huge exhibition is an awesome and terrifying compilation of photographs of the sites of conflict, and the remnants of wars and conflicts of all kinds – local, civil, short, long, global, technological, industrial and hand-to-hand. Taken from the mid 19^th century to the present, the images – hundreds, perhaps even well over a thousand – are oblique and often incomprehensible or unidentifiable without the expansive wall captions.

Hockney

Marina Vaizey Friday, 28 November 2014

David Hockney was continually rejuvenated by his transatlantic commuting.

Olga Chernysheva, Pace Gallery

Sarah Kent Thursday, 27 November 2014

Printed large in glorious colour is a row of photographs of Russian women wearing bobble hats (main picture and pictured below). There’s a fuzzy red one, a woolly brown one, one with red stripes against black and another with raised white stripes. Seen from behind, these hand-knitted globes look like a newly discovered breed of sea anemone or a display of exotic cacti.

The Institute of Sexology, Wellcome Collection

Sarah Kent Sunday, 23 November 2014

There is nothing erotic or titillating about The Institute of Sexology, an exhibition the Wellcome Collection plans to keep open for a year. Those expecting a display of fertility symbols, fetish objects, kinky clothing or sex aids down the ages will be deeply disappointed.

Imagine... Anselm Kiefer, BBC One

Florence Hallett Tuesday, 18 November 2014

Anselm Kiefer reminds me a bit of someone I once worked for. Totally unpredictable, and possessed of a formidable intelligence and creativity, his mental leaps can be bewilderingly hard to follow, leading occasionally to truly breathtaking results, but crashing and burning just as often.

Comment

Taylor Wessing Photographic Portrait Prize 2014, National Portrait Gallery

Florence Hallett Sunday, 16 November 2014

It is hard to know whether the thematic and stylistic threads running through this year’s Taylor Wessing Prize are evidence of some general shift in approach, or simply reflect the judges’ tastes. In any case, where last year’s shortlist featured stark portraits highlighting the tricky power relationships between photographer and subject, this year’s competition tends towards something gentler and more empathetic – an altogether homelier sort of photography.

Comment

Allen Jones, Royal Academy

Sarah Kent Thursday, 13 November 2014

There’s no escaping it; Hat Stand, 1969, is a beastly object. The blank-faced mannequin is too literal to succeed as a sculpture, and the conceit is too nasty to be ignored. Her position – holding up her hands to receive our hats – recalls the torture meted out to prisoners of war by their Japanese guards in WWII.

Emily Carr, Dulwich Picture Gallery

Florence Hallett Wednesday, 12 November 2014

Walking into this exhibition is a bit like walking into a great forest. The dark green walls are hung all around with paintings of trees; we look up through branches that spiral dizzyingly skyward, while the upwards sweep of vast trunks seem relentlessly, tangibly full of life. Some of these paintings verge on abstraction, the forms of tree trunks simplified and reduced to an arrangement of planes, with spatial recession represented entirely through colour.

Egon Schiele: The Radical Nude, Courtauld Gallery

Fisun Güner Tuesday, 04 November 2014

So many words have been expended on Egon Schiele, that it’s almost impossible to imagine what more can be added for such a relatively small and narrow, albeit intense, body of work. His was an early blossoming talent, and in his short life – he was 28 when he succumbed to Spanish flu, dying three days after his pregnant wife, in 1918 – he produced works preoccupied by sex and decay, riven by anxiety and fear, often marked by a tone of aggressive swagger.

Giovanni Battista Moroni, Royal Academy

Florence Hallett Wednesday, 29 October 2014

Written in the 16^th century, Giorgio Vasari’s Lives of the Artists continues to underpin our understanding of the Renaissance, and its author is blamed, often with some justification, for a multitude of art historical anomalies. But there can be little doubt that Vasari’s omission of Giovanni Battista Moroni, a fine painter of portraits and religious subjects, has been instrumental in the disappearance of this artist from the Renaissance halls of fame.