wed 23/09/2020

sculpture

Camille Laurens: Little Dancer Aged Fourteen review - the story of a sculpture

Edgar Degas is famous for his depictions of ballet dancers. His drawings, paintings and sculptures of young girls clad in the uniform of the dance are signs of an artistic obsession that spanned a remarkable artistic career. One work in particular...

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Visual Arts Lockdown Special 4: half-way houses

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...

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Visual Arts Lockdown Special 2: read, search, listen, create

Arguably one of the most poignant effects of the lockdown has been to simultaneously draw attention to the connections between the arts and the distinct ways they have evolved into their own forms. Sculpture, painting, textiles, performance art,...

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Bill Brandt/Henry Moore, The Hepworth Wakefield review - a matter of perception

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...

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Shock of the Nude with Mary Beard, BBC Two review - when does art become erotica?

Are you a fan of oysters or Marmite? Mary Beard is not to everybody’s taste, but love her or loathe her she is not only a distinguished academic but a ubiquitous writer and presenter of classical histories, connected travels, and ruminations on...

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The Best Exhibitions in London

 Picasso and Paper, Royal Academy ★★★ A fascinating subject that proves too unwieldy for a single exhibition. Until 13 Apr Rembrandt's Light, Dulwich Picture Gallery ★★★★ A novel collaboration between curators and cinematographer Peter...

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Caravaggio & Bernini, Kunsthistorisches Museum, Vienna - high emotion in 17th century Rome

It doesn’t matter where you stand, whether you crouch, or teeter on tiptoe: looking into the eyes of Bernini’s Medusa, 1638-40, is impossible. The attempt is peculiarly exhilarating, a game of dare made simultaneously tantalising and absurd by the...

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Anna Maria Maiolino: Making Love Revolutionary, Whitechapel Gallery review – a gentle rebellion

Now in her mid-seventies, Anna Maria Maiolino has been making work for six decades. Its a long stretch to cover in an exhibition, especially when the artist is not well known. Perhaps inevitably, then, this Whitechapel Gallery retrospective seems...

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Leonardo da Vinci: A Life in Drawing, The Queen's Gallery review - peerless drawings, rarely seen

It is a commonplace to describe Leonardo as an enigma whose genius, and perhaps even something of his character, is revealed through his works. But as his works survive only in incomplete and fragmented form, it is drawing, the practice common to...

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Anish Kapoor, Lisson Gallery review - naïve vulgarity and otherworldly onyx

There are children screaming in a nearby playground. Their voices rise and fall, swell and drop. Interspersed silences fill with the sound of running, the movement and cacophony orchestrated by a boy who leads on the catch tone. It's simultaneously...

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Cathy Wilkes, British Pavilion, Venice Biennale review - poetic and personal

Dried flowers like offerings lie atop a gauze-covered rectangular frame. Pebbles surround its base alongside plaster casts, a desiccated dragonfly and an animal foot charm. Their placement is purposeful; their exact significance unclear. Four rib-...

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Henry Moore at Houghton Hall: Nature and Inspiration review - big views bring new light

Placed in a long and artfully Arcadian vista, earthy bronze subdued against verdant grass and trees, the restless form of Henry Moore’s Two Piece Reclining Figure: Cut, 1979-81 (Main picture), both disrupts and is absorbed by its surroundings. A...

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