Photography
Visual Arts Lockdown Special 4: half-way housesWednesday, 01 July 2020
With the first round of galleries opening their doors in June and a new round getting ready to open in July, we’ve a half-way home of a roundup this week. This month’s re-openings include the National Gallery, the Royal Academy, the Barbican, the... Read more... |
Moyra Davey: Index Cards review – fragments of the artistSunday, 31 May 2020
Moyra Davey’s biographical note, included in Fitzcarraldo Editions’ copy of Index Cards, describes “a New York-based artist whose work comprises the fields of photography, film and writing.” It is a useful aperture into the Toronto-born artist’s... Read more... |
Among the Trees, Hayward Gallery review - a mixture of euphoria and dismaySaturday, 07 March 2020
Paradise, according to German artist Thomas Struth, is to be found in the tropical rain forests of Yunnan Province, China. His gorgeous photograph Paradise 11 is the first thing I saw on entering the Hayward Gallery and, immediately it had a... Read more... |
Bill Brandt/Henry Moore, The Hepworth Wakefield review - a matter of perceptionTuesday, 03 March 2020
Bill Brandt’s photographs and Henry Moore’s studies of people sheltering underground during the Blitz (September 1940 to May 1941) offer glimpses of a world that is, thankfully, lost to us. A year and a half after the end of the bombing... Read more... |
Show Me the Picture: The Story of Jim Marshall review - needles, guns and grassSaturday, 01 February 2020
In photographer Jim Marshall’s heyday in the 60s and 70s, before the music business became corporate and restrictive, and before Marshall unravelled – he was partial to cars, cocaine and guns as well as cameras – musicians asked for him, they... Read more... |
Dora Maar, Tate Modern review - how women disappearWednesday, 27 November 2019
In one of Dora Maar’s best known images, a fashion photograph from 1935 (pictured below), a woman wearing a backless, sparkly evening gown appears to be making her way backstage through a proscenium’s drapes. The star of the show exits the limelight... Read more... |
Tim Walker: Wonderful Things, V&A review - a bracing full-body immersionTuesday, 24 September 2019
If leafing through the pages of Vogue is a soothing balm, Wonderful Things is a bracing full-body immersion. Though it builds on the V&A’s reputation for blockbuster fashion exhibitions, this show, dedicated to one of the most celebrated... Read more... |
Kiss My Genders, Hayward Gallery review – a shamblesThursday, 13 June 2019
Kiss My Genders may not claim to be a survey, yet it seems perverse to mount an exhibition of work by LGBTQ artists who address issues of gender identity without including some of the best known names. Particular emphasis is placed, says the press... Read more... |
Kader Attia / Diane Arbus, Hayward Gallery review - views from the marginsTuesday, 12 March 2019
Feelings run high at the Hayward Gallery in a fascinating pairing of two artists from widely differing backgrounds. Kader Attia muses on unhappy, conflicted relationships between cultures in visual meditations on variations of colonialism. Diane... Read more... |
Don McCullin, Tate Britain review - beastliness made beautifulMonday, 11 February 2019
I interviewed Don McCullin in 1983 and the encounter felt like peering into a deep well of darkness. The previous year he’d been in Beirut photographing the atrocities carried out by people on both sides of the civil war and his impeccably composed... Read more... |
Don McCullin: Looking for England, BBC Four review - a hard look at homeTuesday, 05 February 2019
A picture is worth more than a thousand words, never more so than with the photographs of Don McCullin. The octogenarian photographer’s black-and-white imagery made the Sunday Times colour supplement the talk of international media in the 1970s.... Read more... |
DVD: Generation WealthFriday, 19 October 2018
“Psychopathologies come and go but they always tell us about the historical time period in which they’re produced.” So says the journalist and academic Chris Hedges in Lauren Greenfield’s documentary Generation Wealth. The idea the film plays with... Read more... |
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