Visual Arts Reviews
Treasures of Heaven: Saints, Relics and Devotion in Medieval Europe, British MuseumWednesday, 06 July 2011
At the end of my road is a shrine dedicated to a young man murdered there more than a year ago. For the first few months lighted candles, plastic flowers, cards and poems penned by friends and relatives were left on a doorstep; now, though, a blue plaque commemorating his short life has appeared on the wall above a constantly burning flame. Over the years the messages have also changed from outpourings of sorrow to words of adulation; the lad, who by all accounts was a drug-dealing ne’... Read more... |
Twombly and Poussin: Arcadian Painters, Dulwich Picture GalleryFriday, 01 July 2011
Some years ago the Dulwich Picture Gallery invited Howard Hodgkin to exhibit alongside the Old Masters in their collection. I am not a fan of this vastly overrated artist, but even a diehard enthusiast must have found the juxtaposition cruel. How could Hodgkin’s crudely daubed, splishy-sploshy canvases (I exempt from the description a few works painted at the... Read more... |
Eyewitness: Hungarian Photography in the 20th Century, Royal AcademyThursday, 30 June 2011
A subtly haunting and brilliantly composed photograph by André Kertész lives on as a wistfully memorable image of exile: in Lost Cloud, 1937, a small, isolated cloud drifts we know not where next to a New York skyscraper. Kertész is one of the quintet of Hungarian Jewish photographers who are acknowledged as among the greatest of the last century. Kertész, Laszlo Moholy-Nagy, Robert Capa, Martin Munkácsi and Brassaï are the most familiar among the staggeringly accomplished Hungarian... Read more... |
Fake or Fortune?, Episodes 1 & 2, BBC OneTuesday, 28 June 2011
Fake or Fortune? on BBC One, with Fiona Bruce and art dealer and sleuth Philip Mould, ought to have been called CSI: Cork Street for its blend of fine art and forensic science. They were trying to resolve whether a Monet was in fact a Monet, using a 240 million-pixel camera, Monet's own accountbook (which Fiona Bruce ran her ungloved fingers across) and plenty of ominous music. Next up: who killed Marat in David's picture? Read more... |
Marcel van Eeden, Sprueth Magers LondonMonday, 27 June 2011
An article in this week's New Yorker bemoans the death of drawing in art. Why has the emphasis on craft, Adam Gopnik writes, been replaced by concept? He has evidently not seen the fantastic noirish drawings of Marcel van Eeden at Sprueth Magers in Mayfair. Read more... |
Toulouse-Lautrec and Jane Avril: Beyond the Moulin Rouge, Courtauld GalleryThursday, 23 June 2011
As one of the stars of the Moulin Rouge, she was variously known by the nicknames "La Mélinite", "Jane la Folle", and "L’Etrange". The first was after a brand of explosive, the other two attesting to a little craziness. Jane Avril’s eccentric dance movements evoked the involuntary spasms of female hysteria patients. Read more... |
The Vorticists: Manifesto for a Modern World, Tate BritainWednesday, 15 June 2011
Who were the Vorticists? Were they significant? Were they any good? And does this little-known British avant-garde movement – if it can be called anything as cohesive - really deserve a major survey at Tate Britain? Many of the group’s paintings never survived the First World War, and nor did one of its most talented supporters, the precocious French sculptor...
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Government Art Collection: At Work, Whitechapel GallerySunday, 12 June 2011
It owns almost twice as many artworks as the Arts Council, and two-thirds of its 13,500-strong hoard is on display at any given time, yet it’s a collection the public never usually gets to see. Since its foundation in 1898, the Government Art Collection has been purchasing work by British artists not for the nation, but to hang exclusively in the corridors of power, from Downing Street to the British consulate’s office in Azerbaijan. Perhaps, in these cost-cutting times, it now feels... Read more... |
Robin Rhode: Variants, White Cube HoxtonThursday, 09 June 2011
Robin Rhode’s animations are pure pleasure; there’s perfection in their simplicity. They are so perfectly tuned, so light on their feet, that one simply wants to enjoy them; but because they are multilayered, they offer more than momentary pleasure. Rhode was born in South Africa and, in many ways, he is the Banksy of Johannesburg. In the late 1990s he began using the scruffy walls of the city as a canvas on which to make drawings which he describes as a “dreamscape to the impossible”. Read more... |
Fred Sandback, Whitechapel GallerySunday, 29 May 2011
Fred Sandback is one of the great overlooked of the Minimalist movement that developed in the 1960s. Both those words are important – “great” and “overlooked”: his work is genuinely great, and part of its greatness is the way it has overlooking built into it. Read more... |
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