Visual Arts Reviews
Peter Doig, Michael Werner review - ambiguous and excellentWednesday, 25 September 2019
There are two moons in Night Bathers, 2019 (pictured below) One is set in the sky, a great soupy plate with a greenish fringe creating an ugly smear of white across the night. The other is a treacherously hazy rectangle, floating like a cloud above a reclining bather — so inexplicable it could double as a cataract. The latter is, perhaps, a reflection of the former, but at a surreal remove — no reflection looks like that, no reflected light would fall there. 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. Read more... |
Artists in Amsterdam, Dulwich Picture Gallery review - a slight but evocative sketchWednesday, 28 August 2019
Done well, a one-room exhibition can be the very best sort, a small selection of paintings allowing the focused exploration of a single topic without the diluting effect of multiple rooms and objects. Read more... |
Edinburgh Festival 2019 reviews: Below the Blanket / Samson Young: Real MusicTuesday, 06 August 2019
Below the Blanket ★★★★ Read more... |
Black Sabbath: 50 years, Birmingham Museum and Art Gallery review – not heavy goingFriday, 02 August 2019
The well-spring of certain musical genres and hometowns of certain influential musicians have long been a source of civic pride – and a boost to the tourist industry – in many clued-in parts of the world. One only has to think of the co-opting of Bob Marley’s life and influence in attracting tourist dollars to Jamaica or the raising of the Beatles to mythic status – bus tours and all – in Liverpool. Read more... |
Helen Schjerfbeck, Royal Academy review - watchful absences and disappearing peopleMonday, 22 July 2019
Light creeps under the church door. Entering as a slice of burning white, it softens and blues into the stone interior, seeming to make the walls glow from the inside. Beneath the lintel, a milder slot of sun pours upwards. To the right, a plain column, only half in the composition, supports an arch which merges with the back wall, disappearing against its horizontal plane. The chapel is empty but its stillness feels peopled. Here, absence is watchful. Read more... |
Beuys' Acorns, Bloomberg Arcade London review – not much to look at, but important all the sameFriday, 19 July 2019
The City of London is an ecological disaster. Around Bank, Mansion House and Cannon Street there’s scarcely a green leaf to be seen. Glass, steel, concrete and tarmac create an environment that excludes plant life, birds and insects and is detrimental to human health. Read more... |
Yorkshire Sculpture International review - Hepworth and Moore loom largeThursday, 18 July 2019
Sculpture is as much a part of Yorkshire as cricket and a decent cup of tea, with the “sculpture triangle”, comprising four prestigious museums and galleries, feeling almost as well-established as the county’s famed rhubarb triangle. Read more... |
Olafur Eliasson: In Real Life, Tate Modern review – beautiful ideas badly installedSaturday, 13 July 2019
At their best, Olafur Eliasson’s installations change the way you see, think and feel. Who would have guessed, for instance, that Londoners would take off their togs to bask in the glow of an artificial sun at Tate Modern. That was in 2003, when The weather project transformed the Turbine Hall into an indoor park suffused with yellow light. Read more... |
Takis, Tate Modern review - science and art collideFriday, 12 July 2019
Half organic, half high-tech, a bank of magnet-flowers sways not in response to a breeze, but to a magnetic field. Their uncannily naturalistic movements are coupled with a form that is blatantly functional: an unseen, elemental force masquerades as nature at its most benignly pastoral (Pictured below right: Magnetic Fields, l969). Read more... |
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