Visual arts
Florence Hallett
Either side of a doorway, framing a view of Turner’s The Evening Star, c. 1830 (Main picture), Sean Scully’s Landline Star, 2017, and Landline Pool, 2018, frankly acknowledge their roots. Abstract as they are, Scully’s horizontal bands of colour read as landscapes – or rather seascapes – in which the meeting points of earth and sea, sea and sky provide a compositional and conceptual scaffold. This exhibition of new work by Sean Scully is the latest in a series of encounters between contemporary artists and works in the National Gallery. Irish-born Scully pays homage to paintings he Read more ...
Florence Hallett
What are we to make of the two circles dustily inscribed in the background of Rembrandt’s c.1665 self-portrait? In a painting that bears the fruits of a life’s experience, drawn freehand, they might be a display of artistic virtuosity, or – more convincing were they unbroken – symbolise eternity. For an artist so very conscious of his own mortality, his 80 or so self-portraits a relentless record of the passage of time, this last reading seems most unlikely.An intelligently curated exhibition at the Gagosian’s handsome Mayfair gallery provides both space and fuel for thinking about this Read more ...
Florence Hallett
Munch’s The Scream is as piercing as it has ever been, and its silence does nothing to lessen its viscerally devastating effect. It was painted in 1893, but it was a lithograph produced two years later – now the star of the biggest UK exhibition of Munch’s prints for a generation – that would make it famous. Munch's now rare black and white lithograph includes an inscription, which translated from the German reads: “I felt a large scream pass through nature”. Perhaps by spelling out the true subject of The Scream it gilds the lily, but in conveying the agony of empathy it offers an Read more ...
Katherine Waters
Mary Quant first made her name in 1955 with the wildly fashionable King’s Road boutique Bazaar. Initially selling a “bouillabaisse” of stock it was not until a pair of pyjamas she made was bought by an American who said he’d copy and mass produce them that Quant began dedicating herself to her own designs. Fittingly then, the V&A’s exhibition is not so much about the clothes as the attitude – commerce topped Quant’s priorities, fashion was the means.The roughly chronological exhibition is spread over two floors. While the lower level deals with the early, post-war years when Quant’s Read more ...
Katherine Waters
When in 1800 the architect Sir John Soane bought Pitzhanger Manor for £4,500, he did so under the spell of optimism, energy and hope. The son of a bricklayer, Soane had – through a combination of talent, hard work and luck – risen through the ranks of English society to become one of the preeminent architects of his generation. His purchase of the out-of-town Pitzhanger was both a way of cementing his station and, in razing and replacing the original Georgian house with a splendid and idiosyncratic home of his own specifications, showcasing his talents and architectural vision.Since Read more ...
Matt Wolf
It's all go – no, make that Van Gogh – when it comes to the Dutch post-Impressionist of late. Opening the same week as the Tate Britain's blockbuster exhibition about his years in London comes the artist-turned-filmmaker Julian Schnabel's biopic of the tragically short-lived artist, for which its star Willem Dafoe was an unexpected Oscar nominee last month for best actor. Ravishing to the eye as one might expect, and acted with a near-ferocious empathy by Dafoe (who, thank heavens, doesn't worry about an accent), the film as a whole is sure to divide opinion. Shot with a Read more ...
Florence Hallett
Soon after his death, Van Gogh’s reputation as a tragic genius was secured. Little has changed in the meantime, and he has continued to be understood as fatally unbalanced, ruled by instinct not intellect. Van Gogh’s characterisation of himself as a blue-collar artist-worker has only compounded this, so that the real revelation of Tate Britain’s new show is not Van Gogh’s affection for this country, or the influence he would himself have on British art, but the sophistication of his inner life, which acquired breadth and depth through his lifelong interest in British art and literature.Van Read more ...
Sarah Kent
Mike Nelson has turned the Duveen Galleries into a museum commemorating Britain’s industrial past (pictured below right). Scruffy workbenches, dilapidated metal cabinets and stacks of old drawers are pressed into service as plinths for the display of heavy duty machines. Rusting engines, enormous drills, knitting machines, crane buckets, a concrete mixer, a paint sprayer and various other unnameable objects are thereby elevated to the status of sculptures. They look terrific and, by comparison with their raw power, sculptures that aim to evoke the spirit of the machine age, such as the Read more ...
Marina Vaizey
The Magnum photographer Martin Parr has spent decades observing contemporary human activity world-wide as – perhaps – a mesmerised observer, an anthropologist, a tourist, addicted to the vagaries of the human condition. This anthology at the National Portrait Gallery is dominated by what is called "Britishness", even when it is race goers in Durban. And the shadow over whatever "Britishness" may be – from the City Establishment, to a drunk young man all dressed up in black tie passed out at a May Ball, to men mending lobster pots in Cornwall – is of course Brexit (Main picture: Lobster Pots). Read more ...
Jasper Rees
When I interviewed John Richardson, who has died at the age of 95, he was edging through his definitive four-tome life of the minuscule giant of Cubism. Of the various breaks he took from the business of research and writing, one yielded The Sorcerer’s Apprentice, a gossipy, elegant account of his own friendship with Picasso in the 1950s, when he lived in Provençal splendour with Douglas Cooper, then the owner of the finest collection of Cubist art in the world. Where the biography is a vast monument, the memoir is a more intimate, dashed-off sketch, in which Richardson hangs out with Picasso Read more ...
Marina Vaizey
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 Arbus, who died at the age Attia is now, photographed people who were often at the margins of society.Once criticised for what might appear as an obsession with freakery, it is increasingly evident how her curiosity was flavoured with sympathy and empathy. Attia is mesmerisingly obsessed with the difficulties of groups and societies, while Arbus Read more ...
Florence Hallett
Pink walls, slightly dusky in the subdued light of a room shielded from the wintry sun, suggest the bodily concerns of this show, which through the touring collection Artists' Rooms, boldly reviews Louise Bourgeois’s career in a single, modestly sized, exhibition space at Kettle’s Yard. For a prolific artist associated with large-scale sculptures, the most obvious question is “How?”. But though four sculptures are featured, including one of the Cell series, this is a show that makes much of Bourgeois’s works on paper, including the 16-piece series, A L’Infini, where painting and drawing Read more ...