Visual Arts Reviews
Dayanita Singh: Go Away Closer, Hayward GalleryWednesday, 09 October 2013
In the 25 years she has spent taking photographs, Dayanita Singh has accumulated a huge body of evocative and memorable images. For instance, there’s the girl lying face down on a bed (main picture), dressed in what looks like her school uniform. She lies awkwardly, her legs stretched diagonally across to the edge of the mattress, presumably so that her shoes won’t dirty the sheets. Why didn’t she take her shoes off? Read more... |
Facing the Modern: The Portrait in Vienna 1900, National GalleryTuesday, 08 October 2013
“We should pity the age which finds its reflection in this ‘art’”, wrote one critic in 1911, after seeing too many Vienna Secession paintings. From the quotation marks, we see the despairing critic was attacking the art rather than the age. Read more... |
Sarah Lucas: Situation, Whitechapel GalleryThursday, 03 October 2013
I read someone recently describe Sarah Lucas’s sculptures as “aggressive”. Perhaps being greeted by a roomful of huge plaster cocks, mechanised wanking arms and greasy doner kebabs with two fried eggs in an abject arrangement of the female sex can feel a little confrontational, but aggressive? There’s surely something deflecting and bluntly one-note when it comes to the merely aggressive. “Aggressive” rarely lets other emotions in, and Lucas’s work is a many shaded affair. Read more... |
Shunga: Sex and Pleasure in Japanese Art, British MuseumWednesday, 02 October 2013
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. Read more... |
Adrián Villar Rojas, Sackler Serpentine GalleryFriday, 27 September 2013
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. Read more... |
Ana Mendieta: Traces, Hayward GalleryTuesday, 24 September 2013
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. Read more... |
Houghton Revisited: The Walpole CollectionSaturday, 21 September 2013
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... Read more... |
Thinking With the Body, Wellcome CollectionThursday, 19 September 2013
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. Read more... |
Australia, Royal AcademyWednesday, 18 September 2013
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. Read more... |
Tacita Dean, Frith Street GalleryTuesday, 17 September 2013
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. Read more... |
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