Visual Arts Reviews
Performing for the Camera, Tate ModernSaturday, 20 February 2016
The earliest known selfie is as old as the medium itself – literally. Hippolyte Bayard, one of the inventors of photography, pictured himself as a drowned man. His technique of photographic printing on paper had been upstaged by the daguerrotype, a metal plate alternative developed at the same time (1839) by Louis Daguerre. Read more... |
Delacroix and the Rise of Modern Art, National GalleryWednesday, 17 February 2016
Art exhibitions hardly seem comparable with battery farming, and yet just as our insatiable appetite for cheap meat gives rise to some troubling consequences, so too does the demand for definitive exhibitions that require vulnerable works of art to be shipped around the world. Read more... |
The Renaissance Unchained, BBC FourTuesday, 16 February 2016
Waldemar Januszczak always has a provoking agenda to shape his now nearly countless forays into television art history. In this four-part series he's out to challenge what he sees as the unthinking acceptance of the one-dimensional traditional and monopolistic version of the Renaissance. Read more... |
Vogue 100, National Portrait GalleryMonday, 15 February 2016
When it got too hard to ship the original American edition across the Atlantic during the Great War, British Vogue appeared as a sister publication in the Condé Nast empire. Read more... |
Nikolai Astrup: Painting Norway, Dulwich Picture GallerySunday, 14 February 2016
Dulwich Picture Gallery, the oldest public painting gallery anywhere with one of the world’s finest collections of Old Masters, has in recent years built up a deserved reputation for bringing to the British audience unfamiliar aspects of well known painters, along with reappraisals and new discoveries. Their latest show is the first-ever exhibition outside of Norway for that country's landscape painter Nikolai Astrup (1880-1928). Read more... |
Generation Painting 1955-65, Heong Gallery, CambridgeTuesday, 09 February 2016
The individual colleges of the University of Cambridge can call, when needed, on an astonishing international network of alumni for expert advice, consultation and financial support. Such is the backing for an exquisite new public gallery on the site of Edwardian stables in the grounds of Downing College there. Read more... |
Bruegel in Black and White: Three Grisailles Reunited, Courtauld GalleryMonday, 08 February 2016
Now that Renaissance altarpieces live for the most part in museums and not churches, our experience of them is, quite literally, flat. Once, the winged altarpieces so popular in northern Europe, comprising a central panel flanked by two moveable “doors”, would have changed appearance according to the Church calendar, the wings left closed during Lent to be opened again at Easter when the glorious colours of its central image would once again be revealed. Read more... |
Painting the Modern Garden, Royal AcademySunday, 31 January 2016
Painting the Modern Garden explores the interstices between nature and ourselves as revealed in the cultivation of gardens, that most delightful and frustrating of occupations, and an almost obsessive subject for many artists. About 150 paintings from the 1860s to the 1920s, gathered together from private and public collections in North America and Europe are on view, amplified by letters, plans, documents, photographs and illustrated books on horticulture. Read more... |
Saul Leiter, Photographers' GalleryMonday, 25 January 2016
One of the great joys of being a critic is discovering someone remarkable you’ve never heard of before. By the time he died in 2013 aged 90, the American photographer Saul Leiter had gained a degree of recognition, but it had been slow in coming and only now is his work gaining an international reputation. Read more... |
John Akomfrah: Vertigo Sea, Arnolfini, BristolSaturday, 23 January 2016
Artist and filmmaker John Akomfrah’s multi-screen film installation Vertigo Sea is an epic meditation on mankind’s relationship with the watery world. Exploring themes of migration, environmental destruction and slavery, it was one of the most talked about works at last year’s Venice Biennale. Now at Bristol’s Arnolfini, the location couldn’t be more fitting. Read more... |
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