Visual Arts Reviews
Hamad Butt: Apprehensions, Whitechapel Gallery review - cool, calm and potentially lethalSaturday, 07 June 2025
Hamad Butt studied at Goldsmiths College at the same time as YBAs (Young British Artists) like Damien Hirst and Gillian Wearing; but whereas they would become household names so their work is now familiar, he disappeared from view. It makes his Whitechapel retrospective feel like a rediscovery – incredibly fresh and immediate. Read more...
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Bradford City of Culture 2025 review - new magic conjured from past gloriesTuesday, 03 June 2025
Botanical forms, lurid and bright, now tower above a footpath on a moor otherwise famed for darkness and frankly terrible weather. But the trio of 5m-high contemporary sculptures grow in place here, drawing life from limestone soil. These metallic buds, blooms and supersize tubers reflect a deep, tropical past that predates the very English landscape we now associate with this part of the world. Read more... |
Bogancloch review - every frame a work of artSaturday, 31 May 2025
Director Ben Rivers is primarily an artist, and it shows. Every frame of Bogancloch is treated as a work of art and the viewer is given ample time to relish the beauty of the framing, lighting and composition. Many of the shots fall into traditional categories such as still life, landscape and portraiture and would work equally well as photographs. Read more... |
Do Ho Suh: Walk the House, Tate Modern review - memories are made of thisFriday, 02 May 2025
A traditional Korean house has appeared at Tate Modern. And with its neat brickwork, beautifully carved roof beams and lattice work screens, this charming dwelling looks decidedly out of place, and somewhat ghostly. Go closer and you realise that, improbably, the full-sized building is made of paper. It’s the work of South Korean artist Do Ho Suh (main picture). Read more... |
Ed Atkins, Tate Britain review - hiding behind computer generated doppelgängersFriday, 04 April 2025
The best way to experience Ed Atkins’ exhibition at Tate Britain is to start at the end by watching Nurses Come and Go, But None For Me, a film he has just completed. It lasts nearly two hours but is worth the investment since it reveals what the rest of the work tries hard to avoid openly confronting – grief. Read more... |
Echoes: Stone Circles, Community and Heritage, Stonehenge Visitor Centre review - young photographers explore ancient resonancesTuesday, 04 March 2025
Stonehenge is about 5,000 years old; three photographic artists currently exhibiting in the visitor centre are all under the age of 25. The juxtaposition of 21st century and the ancient world has been facilitated by Shout Out Loud, a youth engagement programme from English Heritage, custodians of this historic monument. In collaboration with Photoworks, this gives rise to the first ever exhibition of new photography at the site. Read more... |
Hylozoic/Desires: Salt Cosmologies, Somerset House and The Hedge of Halomancy, Tate Britain review - the power of white powderMonday, 03 March 2025
The railways that we built in India may be well known, but I bet you’ve never heard of the Customs Line, a hedge that stretched 2,500 miles across the subcontinent all the way from the River Indus to the border between Madras and Bengal – the distance between London and Istanbul. Comparable in scale to the great Wall of China, this 40-foot high barrier was created to prevent the smuggling of salt. Read more... |
Help to give theartsdesk a future!Saturday, 01 March 2025
It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com. It followed some hectic and intensive months when a disparate and eclectic team of arts and culture writers went ahead with an ambitious plan – to launch a dedicated internet site devoted to coverage of the UK arts scene. Read more... |
Mickalene Thomas, All About Love, Hayward Gallery review - all that glittersWednesday, 26 February 2025
On walking into Mikalene Thomas’s exhibition at the Hayward Gallery my first reaction was “get me out of here”. To someone brought up on the paired down, less-is-more aesthetic of minimalism her giant, rhinestone-encrusted portraits are like a kick in the solar plexus – much too big and bright to stomach. Could I be expected to even consider accepting these gaudy monstrosities as art? Read more... |
Donald Rodney: Visceral Canker, Whitechapel Gallery review - absence made powerfully presentSaturday, 22 February 2025
Donald Rodney’s most moving work is a photograph titled In the House of My Father, 1997 (main picture). Nestling in the palm of his hand is a fragile dwelling whose flimsy walls are held together by pins. This tiny model is made from pieces of the artist’s skin removed during one of the many operations he underwent during his short life; sadly he died the following year, aged only 37. Read more... |
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