Visual Arts Reviews
Jonathan Yeo Portraits, National Portrait GalleryWednesday, 11 September 2013
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. Read more... |
Museum HoursFriday, 06 September 2013
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. Read more... |
Rebuilding the World Trade Center, Channel 4Monday, 02 September 2013
“I see a lot of things up there, I get chills, see shadows. I don’t know if you call them ghosts or whatever, but you feel stuff. They’re trying to tell you something.” This is bolt boss Mohawk Joe “Flo” McComber, one of the many Mohawk iron workers rebuilding the World Trade Center. A tough guy, he’s not alone in sensing the spirits of the dead. “The site is being take care of in a different way. You feel it,” says Mike O’Reilly, another ironworker. Read more... |
Bob Dylan: Face Value, National Portrait GallerySaturday, 24 August 2013
Face Value – heh, who’d have thought to come up with that title for an exhibition of portraits? Yeah, it’s not particularly clever, but there’s something of the contrarian mischief-maker in it all the same, for in the 50 years that Bob Dylan has been making music, giving interviews and being lionised as the son of God, there’s never been much danger of anyone taking him at face value. Or at least there shouldn’t be. Read more... |
The Man Who Collected the World: William Burrell, BBC FourThursday, 22 August 2013
Had the wealthy William Burrell had a son, Glasgow might not have acquired the world-class art collection that the shipping entrepreneur amassed during his long life. But with the birth of a sole daughter came both ambitions and suspicion – he raised Marion to succeed to his art empire, then imagined every suitor to be a gold-digger, breaking off her third engagement with a public announcement in the newspaper that took even her by surprise. Read more... |
Mass Observation: This Is Your Photo, Photographers' GalleryWednesday, 14 August 2013
There was an unmistakable trend within Modernism to try and record absolutely everything about ordinary life. Think of Joyce and his attempt to set down all of Leopold Bloom’s thoughts, or the cubists and their use of even the tiniest scrap of newsprint in a collage. Read more... |
theartsdesk at the Edinburgh Art FestivalWednesday, 07 August 2013
The highlight of this year’s Edinburgh Art Festival is undoubtedly Peter Doig’s No Foreign Lands. As you enter the beautifully proportioned and wonderfully hung rooms of the Scottish National Gallery (until 3 November) the spirit of last year’s Festival exhibition of European Symbolist Landscape seems still to linger and has found its modern echo. Read more... |
Conrad Shawcross: Timepiece, RoundhouseSaturday, 03 August 2013
Last time I encountered a work by Conrad Shawcross, it made me feel sick. His kinetic light sculpture, Slow Arc Inside a Cube IV, occupied a room the size of a broom cupboard at the Hayward Gallery’s Light Show. Inside a dense metal cage on spindly legs was a metal armature on which a high-wattage bulb was fixed. Read more... |
Richard Rogers: Inside Out, Royal Academy, Burlington GardensFriday, 26 July 2013
Richard Rogers is addicted to colour. His wardrobe dazzles, and this biographical anthology opens with a selection of Rogers’ aphorisms and statements in bold black on a wall painted a coruscating knock-out fuschia. And then there are the buildings. Rogers, 80 this month, is now a world-famous multi-honoured “starchitect”. He has successfully practised for over 50 years. Read more... |
Hahn/Cock, Fourth PlinthThursday, 25 July 2013
It’s a huge cock! The Brits love double entendres. Maybe the Germans do too, but the Brits have cornered the market. Katharina Fritsch, the German artist behind the huge cock on the Fourth Plinth in Trafalgar Square, has certainly played to our humour, but says she didn’t give a thought to the idea that the cockerel is a symbol of France. Read more... |
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