Visual Arts Reviews
Donna Fleming: Apocalypse, The Pie Factory, Margate review - personal passions and intense feelingsMonday, 14 November 2022
Donna Fleming’s exhibition at the Pie Factory Gallery in Margate is called Apocalypse, which is confusing because it has nothing to do with the end of the world. Fleming does not even watch the news because she “does not want to think about miserable things”. Instead the title refers back to the Greek word that apocalypse is derived from, apokalypsis, which means uncovering. Read more... |
Making Modernism, Royal Academy review - a welcome if confusing intro to seven lesser known artistsSaturday, 12 November 2022
The Royal Academy’s Making Modernism is a welcome introduction to seven women painters working in Germany at the beginning of the last century. Read more... |
William Kentridge, Royal Academy review - from art to theatre, and back againMonday, 24 October 2022
South African artist William Kentridge appears on video in his studio, twice. On the right he sits scribbling, waiting for an idea to surface. Meanwhile his alter ego stands impatiently by, trying to peek at his other half’s notes and, desperate for enlightenment, even reads a recipe out loud. The artist, it seems, doesn’t have a clue; he is as much in the dark as everyone else. A Lesson in Lethargy, 2010 offers a brief moment of humour in this relentlessly dark exhibition. Read more... |
Hopper: An American Love Story review - a dry view of a much richer subjectTuesday, 18 October 2022
This rather disappointing documentary about the great American painter Edward Hopper (1882-1967) has such a dry parade of experts and such a slow linear narrative that it leaves plenty of time to be frustrated by all that’s been left out. Read more... |
Lucian Freud: New Perspectives, National Gallery review - a powerful punch in the gutWednesday, 05 October 2022
There stands Lucian Freud in Reflection with Two Children (Self-portrait), 1965 (main picture) towering over you, peering mercilessly down. Is that a look of scorn on his face or merely one of detachment? His two kids seem to be squirming and giggling beneath their father’s unblinking stare. Who wouldn’t be, especially when the huge lamps hanging overhead are reminiscent of an interrogation chamber? All the better to see you with, my dear. Read more... |
Hallyu! The Korean Wave, V&A review - frenetic but funTuesday, 27 September 2022
Remember Gangnam Style, the music video that went viral in 2012? PSY’s cheeky lyrics and daft moves attracted 1.6 billion hits on YouTube, sparked dozens of parodies and turned the world on to K-pop. And that was just the beginning; K-pop has since mushroomed into a global phenomenon characterised by catchy tunes and fast-paced dance routines performed by beautiful young people in snappy outfits. Read more... |
Marina Abramović: Gates and Portals, Modern Art Oxford and Pitt Rivers Museum review - transcendence liteMonday, 26 September 2022
I have powerful memories of performances by Marina Abramović. Back in 1977 at Documenta in Kassel, Germany, she and her then partner Ulay stood either side of a doorway, facing one another. There was only enough room to squeeze through sideways and, since both were naked, choosing whom to face was an interesting challenge. Read more... |
Winslow Homer: Force of Nature, National Gallery review - dump the symbolism and enjoy the dramaTuesday, 20 September 2022
Across the pond Winslow Homer is a household name; in his day, he was regarded as the greatest living American painter. He was renowned especially for his seascapes and his most famous painting, The Gulf Stream, 1899/1906 (main picture) features in the National Gallery’s retrospective. Read more... |
Carolee Schneeman: Body Politics, Barbican review - challenging, in-your-face and messyThursday, 15 September 2022
Life is messy and so is Carolee Schneeman’s work. She wanted it that way. Breaking down the barriers between art and life, between inhabiting a woman’s body and using it as primal material, was a key objective. Read more... |
Germany / The 1920s / New Objectivity / August Sander, Centre Pompidou review - expansive and thought-provokingMonday, 15 August 2022
The businessman in Heinrich Maria Davringhausen’s Der Schieber (The Profiteer), 1920-1921 sits several floors above the city streets, pencil in hand; the high-rise buildings pressing at the windows around him. Not in Germany. In France. Read more... |
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