Visual Arts Reviews
Giuseppe Penone, Marian Goodman GalleryTuesday, 13 September 2016
Guiseppe Penone’s lyrical and tactile works, made from the simple elemental materials that typify the 1960s Italian Arte Povera movement (of which he is a key exponent), belong largely to the outside world of woods and gardens. Read more... |
NEON: The Charged Line, Grundy Art Gallery, BlackpoolThursday, 08 September 2016
Neon was once the triumphant glowing symbol of commerce and capitalism. In the 1930s the distinctive tube lighting gleamed above broadway theatres and on prominent billboards in the world’s great metropolises from New York to Paris. These glory days were not to last. Within just few years neon signs were removed from their downtown pride of place, demoted instead to apologetically jutting out from roadside motels and peripheral dive bars. Read more... |
Inside: Artists and Writers in Reading PrisonMonday, 05 September 2016
“Outside the day may be blue and gold, but the light that creeps down through the thickly-muffled glass of the small iron-barred window beneath which one sits is grey and niggard. Read more... |
London's BurningSunday, 04 September 2016
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. Read more... |
Björk Digital, Somerset HouseThursday, 01 September 2016
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. Read more... |
Colour, Fitzwilliam Museum, CambridgeFriday, 12 August 2016
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. Read more... |
Stubbs and the Wild, Holburne Museum, BathTuesday, 02 August 2016
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 Read more... |
William Eggleston Portraits, National Portrait GallerySaturday, 23 July 2016
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. Read more... |
Winifred Knights, Dulwich Picture GalleryFriday, 22 July 2016
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. Read more... |
Ragnar Kjartansson, Barbican Art GalleryMonday, 18 July 2016
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. Read more... |
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