Visual arts
Gareth Williams
The British Museum's exhibition The Vikings: Life and Legend promises to redefine the Viking age for a new generation. First seen at the National Mueum in Copenhagen, it has now travelled - much as the show's subjects once did - across the North Sea. It includes objects from 25 lending institutions spread across nine countries - 10 if you include Scotland, whose national law requires export licence. To celebrate the exhibition, theartsdesk invited Dr Gareth Williams to pick 10 exhibits that walk us through the Viking story.1 Which exhibit says something new and unexpected about the Vikings? Read more ...
Florence Hallett
Telling a story through an exhibition can be a bad idea, partly because it seems a little pedestrian but mainly because it runs the risk of using art as illustration, glibly treating paintings as if they were objective visual records. In its title, The Great War in Portraits makes very plain its use of portraiture as a lens through which to view this earth-shattering conflict, but any anxieties about its handling of such a tricky approach are quickly assuaged.The exhibition begins with Jacob Epstein’s Torso in Metal from The Rock Drill, 1915-16 (pictured right), a sculpture that still shocks Read more ...
Florence Hallett
Strange Beauty: Masters of the German Renaissance finds the National Gallery in curiously reflective mood. Taking as its subject the gallery’s own mixed bag of German Renaissance paintings, the exhibition sets about explaining – and excusing – the inadequacies of its collection, suggesting that it simply reflects the disdain with which German painting was once regarded. Certainly, in 1824, when the gallery was founded, the collection mainly comprised Italian and Netherlandish art, and the only German artists admitted were those who could imitate the jolly rustic scenes of Adriaen van Ostade, Read more ...
fisun.guner
Is Brutalism brutal? Pugnacious? Uncouth? The name was coined by English academic and architecture writer Reynor Banham – more on him in a moment – as a play on the French béton brut (literally raw concrete) and the English “brute”, and hence was probably doomed from the start. Who, after all, can love an architectural style that sounds like it’s got all the grace of a troglodyte doing a plié before punching you in the face? The civic courtship of Brutalism in its heyday in the Sixties and Seventies (or the “long Sixties”, as Jonathan Meades prefers it) hit the skids long ago, and Read more ...
Tom Birchenough
Britain’s last castle, Drogo, may be only just over a century old, but repair work is going on in a big way – it’s currently the National Trust’s largest-scale restoration project. That provided the excuse for the Time Team special The Edwardian Grand Designer about Drogo's architect, Sir Edwin Lutyens, though attention would surely have come round to him anyway this year, as the designer of World War One cemeteries and monuments, from London’s Cenotaph to the Memorial to the Missing of the Somme at Thiepval (pictured, below right). Not to mention the creator of the visual tribute to the Read more ...
Tom Birchenough
There really was astonishing talent on display in The Brits Who Built the Modern World (*****), as full a television panorama of the work of the five architects whose careers were under examination – Richard Rogers, Norman Foster, Nicholas Grimshaw, Michael Hopkins and Terry Farrell – as we’re ever likely to get. Peter Sweasey’s three-film series, fascinatingly rich in archive footage, was supported by the Open University and produced in partnership with the Royal Institute of British Architects (which has published an accompanying book), emphasising that it’s once-in-a-lifetime project.The Read more ...
fisun.guner
The National Gallery recently embarked on a first: they acquired their first American painting. Men of the Docks, 1912, (main picture) may not be George Bellows’ most famous or best-regarded work; nonetheless, it’s a gritty and beautifully observed slice of New York life among the city’s dockside workers.“In this country, we have no need of art as culture,” Bellows’ former tutor, the artist Robert Henri, pronounced. “No need of art for poetry’s sake….What we do need is art that expresses the spirit of the people today.” Bellows absorbed Henri’s lesson and absorbed it well, at least during the Read more ...
Thembi Mutch
“Would we be able to prosecute the Vikings today, should we? I mean are there parallels between what the Nazis did by plundering art and gold, or what the German soldiers did who raped Norwegian women when they occupied Norway?” Silke Roeploeg might perhaps fit the Viking caricature: tall, blonde, physically fit, ruddy weathered cheeks, and smart. She is however German, and a lecturer on the Highland and Islands Nordic studies, which includes a component on Vikings. Now living on Shetland, Silke is philosophical about the controversy that the Vikings are still managing to cause, some Read more ...
Tom Birchenough
Back at the Venice Biennale in 2010, the German film director Wim Wenders showed a 3D video installation titled “If Buildings Could Talk”.Exploring the theme of how architecture interacts with human beings, and attempting to capture the soul of the buildings themselves, he wrote a poem on the subject with the lines: “Some would just whisper,/ some would loudly sing their own praises,/ while others would modestly mumble a few words/ and really have nothing to say.”It was an idea that obviously came to fascinate Wenders, and he has been integral in the process of expanding it into Cathedrals of Read more ...
fisun.guner
Some artists are diminished by major retrospectives, including those artists we consider great. A gap opens up between what you see and what you hear, which is why you can never judge work with your ears, or at least your ears and nothing else. The reassessment – largely subjective, but hopefully an informed and considered subjective – shouldn’t come about because of a few bad or indifferent works, or on the evidence of a gradual failing of powers (even giants sleep, and while the well of creativity may be deep it’s rarely never-ending), but when a whole body of work that follows the arc of a Read more ...
fisun.guner
David Hockney has been a printmaker for almost as long as he’s been a painter. From one of his earliest ventures into print, a self-portrait colour lithograph aged 16 while at Bradford College of Art (the black pudding-bowl hair emulates early hero Stanley Spencer, before Hockney went for the striking platinum-blond look), the two activities have been given equal weight throughout his career, though this, as it turns out, was mainly by accident. Being a penurious student at the Royal College of Art in 1959, and finding that he had to pay for his own painting materials, Hockney was drawn Read more ...
Marina Vaizey
Several hundred photographs, of varying scales and most of them newly printed gelatin silver prints in superb tones of greys blacks and whites, take us into a world that has been subliminally familiar to us for nearly 50 years.Stardust is the title given to this self-selected retrospective, three years in the making, the photographer his own curator, and the word neatly encapsulates the fascinating conundrum of photography itself. As Bailey himself puts it, “it’s not the camera that takes the picture, it’s the person” and these photographs are as much about Bailey as his subject Read more ...