mon 24/02/2025

Visual Arts Reviews

Shunga: Sex and Pleasure in Japanese Art, British Museum

Marina Vaizey

Sex please, we are Japanese. This astonishing collection of about 170 paintings, prints and illustrated books from 300 years of Japanese art, known as “shunga” or spring pictures, come in part from the culture of the “floating world” (ukiyo-e) mostly located in Edo (modern-day Tokyo), from the mid 17th- to mid-19th centuries. 

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Adrián Villar Rojas, Sackler Serpentine Gallery

Sue Hubbard

A queue of artists, press and glitterati snaked its way through Kensington Gardens waiting to be let into the private view for the opening of the Serpentine’s new Sackler Gallery this week, housed in The Magazine, a former 1805 gunpowder store, located a few minutes’ walk from the Serpentine Gallery on the north side of the Serpentine Bridge.

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Ana Mendieta: Traces, Hayward Gallery

Sarah Kent

Gazing out of my window pondering how to start my review of Ana Mendieta, I noticed a creeper engulfing the house at the end of my garden. Having covered the wall, one window and a chimney, the tentacles are spreading along the gutter and over the roof. Meanwhile, my neighbour’s roses have encroached six feet into my territory and, next door the other way, a vine is assiduously working its way along the hedge and into the branches of a tree.

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Houghton Revisited: The Walpole Collection

David Nice

What is the extraordinary, crowd-drawing appeal of a picture collection reunited, for a short time only, with its original surroundings? Well, for a start, this is no modest assembly of old masters, and Houghton Hall's elaborately crafted ensemble rooms constitute no conventional stately home. The feat of remarrying them has been so successful that Houghton Revisited has been extended for another two months, until 24 November.

Clearly following in the rear of fashionable...

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Thinking With the Body, Wellcome Collection

Sarah Kent

While the main gallery is closed for renovation, the Wellcome Collection has taken the opportunity to mount a fascinating upstairs show exploring the way choreographer Wayne McGregor collaborates with scientists.

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Australia, Royal Academy

Sue Hubbard

In The Importance of Being Earnest, first performed in 1895, Oscar Wilde wittily quipped that Algernon must choose between “this world, the next and Australia”. At a time when it took weeks to reach the other side of the globe most Britons, if they thought of it at all, thought of that far-flung continent as a convenient corral for undesirable fellow citizens.

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Tacita Dean, Frith Street Gallery

Toby Saul

In 1970 the American artist Robert Smithson took several tonnes of mud and rock and built a jetty out into the Great Salt Lake in Utah. Instead of making a single, straight line, Smithson’s jetty curved round on itself and formed a spiral. Since no boat can dock at a spiral jetty, it joined Méret Oppenheim’s fur-lined teacup and Man Ray’s nail-studded clothes iron as an object whose function was subverted.

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Francis Bacon/Henry Moore: Flesh and Bone, Ashmolean Museum

Marina Vaizey

It is a shock, in this succinct exhibition of two British colossi of the past century, Henry Moore (1898-1986) and Francis Bacon (1909-1992), to be reminded of just how colossal and original are their achievements. We are shown their curiously affecting affinities, in their adherence to the human figure at the core of their work, and reminded through the display of documents and catalogues of their truly international success, both critical and financial. 

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Jonathan Yeo Portraits, National Portrait Gallery

Fisun Güner

Grayson Perry is sitting pretty amid a swathe of soft-focus pink. Dressed as his alter ego Claire he sits on a pink bed with pink pillows, his pink ruched dress spread about him with its frilly underskirt on view.

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Museum Hours

Graham Fuller

How we look at and value art, the stuff we accumulate around us, and our daily surroundings; how we look at and communicate with each other (or avoid doing so in the digital age); and if we do or don't see: these are some of the themes explored in Museum Hours, an immersive docufiction made in Vienna by the experimental, socially progressive Brooklyn filmmaker Jem Cohen.

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