Visual arts
Florence Hallett
What strange things netsuke are. Tiny sculptures, usually made from wood or ivory and depicting anything from figures, to fruit to animals, they were first made in the 17th century as toggles to attach pockets and bags to the robes worn by Japanese men. For as long as they have existed they have been considered highly collectible, and perhaps it is this, and the rapturous appreciation they inspire in their devotees, that to me at least makes them seem hopelessly, unspeakably kitsch.Listening to the potter Edmund de Waal talking last night as part of the Brighton Festival, it struck me that Read more ...
Sheila Rock
I had never really photographed landscape. But I spent many wonderful weekends in Suffolk and Norfolk along the coast. This project began when I just decided to photograph the sea in a very abstract way. The sky and the light and the flatness were quite inspiring for me.And then commercial jobs were taking me to places like Staithes near Whitby in North Yorkshire, and Cornwall, and I just thought it was so beautiful that I’d say to my assistant, “If I book you for a day or two, let’s travel along the coast and do some more atmospheric pictures.” As I began to explore other parts of the Read more ...
Mark Sheerin
In an oft quoted moment of self-deprecation, WH Auden once described his own face as looking like “a wedding cake left out in the rain”. But the poet might have thought twice if confronted with the Porcelain confections of Rachel Kneebone. The London-based artist has brought three of her sculptures to the gallery of the University of Brighton; each one piles flora, vines and body parts onto a tomb-like plinth. They are as grand as wedding cakes, sugar white, and slick with a wet-looking glaze. Look closer and delicate flowers dissolve into less seemly clumps of undergrowth. Tendrils look Read more ...
Jasper Rees
A heretical thought. Films released on the big screen are designed to be devoured in one swallow. But if ever a three-hour epic was made for consumption in bite-sized chunks, it is National Gallery, Frederick Wiseman’s discreet profile of the much- loved institution and all who sail in her. An episodic tour through the galleries and the backrooms the public never see, it greatly lends itself to DVD. Indeed, much as one goes back to a gallery to look at just one painting, its 15 chapters can be visited and revisited on an individual and selective basis.Wiseman is as interested in people as Read more ...
Florence Hallett
Modigliani’s short life was a template for countless aspiring artists who, in the period after his death in 1920, were only too willing to believe that a garret in Montmartre and a liking for absinthe held the secret to creative brilliance. While Modigliani certainly compounded poor health with a ruinous drink and drug addiction, this exhibition plays down his reputation as a hellraiser, suggesting instead an altogether quieter, although no less romantic character. Even relatively unembellished, the artist’s life has been so comprehensively mythologised that it feels as contrived as a film Read more ...
Mark Sheerin
Thanks to its international festival and a thriving catalogue of fringe events, May brings a great deal of noise to Brighton. Putting artwork into this saturated landscape can never be easy. But Nathan Coley has managed to inject some critical thinking and reflectivity.HIs best-known works, quotations in illuminated text, blazon themselves on the mind. They occupy a tidy niche and reproduce well in books, magazines and social media updates. So when you first see his work here on the south coast, in an 11th-century church no less, you might for a moment get a sense that, were this not a cosy Read more ...
Florence Hallett
It’s far too easy to think about the history of art as a series of class acts, with one superlative achievement following another. Exhibitions tend to encourage this view, and the notion of a superstar artist is key to persuading us that the latest blockbuster is unmissable. We know that the artists with the biggest reputations were not always celebrated in their own lifetimes, but just as the characterisation of the great artist as a lone genius is misleading and fanciful, this one-room exhibition shows that casting art history’s lesser-known figures as sorry failures is equally misguided. Read more ...
Sarah Kent
Described by the Tate as the Laurel and Hardy of the art world, John Wood and Paul Harrison are best known for appearing in superbly timed, comic videos using their own bodies to explore spatial relations. Projected over the concrete stairwell of the Carroll/Fletcher gallery 100 Falls (pictured below right) is excruciating to watch. A black-clad figure in a white room disappears from view up a wooden ladder. Seconds later he plummets down to crash land in a crumpled heap on the floor. Sometimes he smashes into the wall, sometimes his legs are bent awkwardly beneath him. Surely he must be Read more ...
Sarah Kent
In 1967 when she produced Syncopated Rhythm (main picture), Sonia Delaunay was 82; far from any decline in energy or ambition, the abstract painting shows her in a relaxed and playful mood. Known as The Black Snake for the sinuous black and white curves dominating the left hand side, this huge, two and a half metre wide canvas is deliciously varied. The arcs of rich colour so familiar in Delaunay’s work are joined by triangles, squares and rectangles articulated with vigorous cross-hatching, see-through washes and solid blocks of pigment in a gorgeous array of vibrant hues. This Read more ...
Marina Vaizey
The Iranian-born New York resident painter YZ Kami, now in his mid-fifties, continually plays with our hunger to look at “reality” while being seduced by abstraction and repetition. In 17 canvases, painted over the past two years, Kami explores two distinct and recognisable styles or idioms that however much in common they have with contemporary concerns he has made his own. The results are both powerful and pleasurable. He uses oil on linen when painting blurred portraits based on photographs or, presumably when the subject is named, based on a person known to the artist; acrylic on Read more ...
Sarah Kent
At 86, Jo Baer is still painting vigorously. In the mid 1960s, she was an established New York Minimalist along with artists like Carl Andre and Sol Lewitt; but while they continued to explore abstraction, she changed tack – dramatically, or so it seemed. In the mid 1970s, she turned toward figuration declaring that the “naivety” of Minimalism (its refusal to engage with events in the real world) no longer made it relevant. Yet she still thinks of herself as an abstract painter and this survey, which spans 55 years, allows us to guage what she means by the claim.In the early days, her Read more ...
Mark Sheerin
MK Gallery has a knack for showcasing mid-career artists before any other public space and this is Ellen Altfest’s first survey in the UK. There are 22 paintings here which, given their demands on her time, represent a significant proportion of the 44-year old’s output to date. Most of the pieces come from private collections, representing her commercial success with White Cube. And while the blue chip gallery showed her in the modest setting of Hoxton Square, these works couldn’t be further from the epic installations which appear to characterise the gallery’s new space in Bermondsey. Read more ...