thu 15/05/2025

Visual Arts Reviews

London's Burning

Katie Colombus

It has been 350 years since the Great Fire of London. A festival of art and ideas by Artichoke, the company behind Lumiere London, has brought a series of free, inventive installations and performances to the capital. These curated events and live art happenings don't so much teach us about the events of the past, but enable us to take stock of what's happening right now in the world, and challenge us to change for the future.

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Björk Digital, Somerset House

Tina Edwards

Australia and Japan were first to host Björk Digital, but it lands at London’s Somerset House with fresh, never-before-seen work. The immersive virtual reality exhibition collates several digital- and film-based works born from Björk's critically acclaimed album Vulnicura.

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Colour, Fitzwilliam Museum, Cambridge

Florence Hallett

It is sobering to think that the medieval and Renaissance paintings that fill our galleries represent just a fraction of the artistic output of that period. Panel paintings – not to mention exquisitely fragile wall paintings – have for the most part succumbed to the ravages of time, and those not destroyed by fire or flood, acts of war or vandalism, or abortive attempts at restoration have simply faded, darkened or discoloured.

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Stubbs and the Wild, Holburne Museum, Bath

Marina Vaizey

A gorgeous white horse with flowing mane, poised and alert in a rocky landscape next to a watchful lion, is an extraordinary study of suppressed tension. A wistful North American moose, a herd animal living on its own on the Duke of Richmond’s estate; a monkey about to eat a crab apple

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William Eggleston Portraits, National Portrait Gallery

Sarah Kent

American photographer William Eggleston is famous for dedicating himself to colour photography at a time when it was still considered kitsch – acceptable for wedding and Christening photos, but not much else. The best known example of his embrace of colour is a 1973 photo of a red light bulb hanging from a red ceiling, a picture devoid of subject matter beyond redness and the associations it triggers.

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Winifred Knights, Dulwich Picture Gallery

Marina Vaizey

Winifred Knights (1899-1947) was an impeccable draughtsman: her portrait drawings are compelling. She deployed fine webs of lines, her sure hand applying gradated pressure resulting in mesmerising studies of people that are hypnotically fascinating. Who knew pencil could do so much? But she was also a painter, a slow worker using techniques that were deliberately old-fashioned.

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Ragnar Kjartansson, Barbican Art Gallery

Sarah Kent

A neon sign over the Barbican’s Silk Street entrance reads Scandinavian Pain. Following its victory over us in Euro 16, it seems that Iceland is now drenching us with its special brand of melancholy. Things are not that simple, of course. In his work, Icelandic artist Ragnar Kjartansson indulges his penchant for sorrow with such bitter sweetness that, with many a gentle sigh, emotional pain morphs into something more akin to pleasure.

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The Banker's Guide to the Art Market, BBC Four

Florence Hallett

This programme was not ironic, humorous or in any way lighthearted. I’m fairly sure of that, but worry that perhaps I’ve missed the joke.  A withering take-down or a meaty exposé of the corruption and excess of the extremely wealthy would have served a purpose, but this was neither.

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Les Rencontres d'Arles 2016

Bill Knight

Nous avons Brexité but we are still welcome at the 47th Rencontres d'Arles. Each summer this beautiful French town gives itself over to an international photography festival which this year features around 40 exhibitions of varying sizes with countless lectures, parties, book signings and fringe events.

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Georgia O’Keeffe, Tate Modern

Sarah Kent

It's 100 years since Georgia O’Keeffe first showed at Alfred Stieglitz’s 291 Gallery in New York, a hub of avant-garde activity, and the opening room of this major retrospective revisits the 1916 exhibition. Inspired by Arthur Dow’s emphasis on freedom of expression and Wassily Kandinsky’s book The Art of Spiritual Harmony, O’Keeffe made a series of drawings and paintings in which natural forms are abstracted to the point where they are only just recognisable.

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