Visual Arts Reviews
LUMIERE, DurhamFriday, 18 November 2011
It would be hard to say which was the more breathtaking: a sunny autumn morning walk around the woody-banked loop of the River Wear, looking up at Durham’s monumental Norman cathedral from every perspective, or seeing the great edifice illuminated the previous evening with pages of the Lindisfarne Gospel, centerpiece of the city’s LUMIERE festival. Read more... |
Paul McCarthy: The King, The Island, The Train, The House, The Ship, Hauser & WirthFriday, 18 November 2011
Until recently, on YouTube, you could watch Paul McCarthy and Mike Kelley’s Heidi (1992), one of the funniest and most transgressive videos ever made. In a Swiss chalet, the children Heidi and Peter are being “educated” by their abusive grandfather, who freely indulges his propensity for bestiality, incest, onanism and scopophilia. Read more... |
Art of America, BBC FourTuesday, 15 November 2011
For dull reasons to do with a dodgy digital box and a very old analogue telly, I can’t tune in to BBC Four during live transmissions, so I either catch up on iPlayer, or (lucky me as a journalist) get to see programmes early. But I’m very glad I can get it at all, for when the BBC cuts come to pass and its premier arts channel starts broadcasting archive-only material, as it proposes to do, then I think I might just stop watching telly altogether. Read more... |
Paul Noble: Welcome to Nobson, Gagosian GalleryMonday, 14 November 2011
Fifteen years ago Paul Noble began to create an imaginary city, Nobson Newtown, with preparatory sketches and drawings in his meticulous pencilled style. Now we have a Noble-ian paradox: in this penultimate contribution to his Nobson Newtown series, the visitor is greeted at the door with a "Welcome to Nobson" sign, and 15 small drawings of the "Genesis" of Nobson Newtown. Read more... |
Art for Heroes: A Culture Show Special, BBC TwoSaturday, 12 November 2011
Coming as it did over this Armistice weekend, when the soldiers who have died for us are foremost in our thoughts, last night's Art for Heroes: A Culture Show Special was a salutary reminder that soldier-victims are not just those who are killed or sustain terrible physical injuries but also those with psychological wounds which can't be stitched together. Read more... |
Royal Manuscripts: The Genius of Illumination, British LibraryFriday, 11 November 2011
In 1757, what had previously been the royal collection of manuscripts was handed over to the nascent British Museum. Edward IV, who started the collection in the 15th century, had created a collection of books designed to display the greater glory of God and (by extension) his chosen sovereigns and country: the Yorkist leader in the Wars of the Roses used these books, and the images they contained, to create a propaganda machine to suggest that God was on his side. Read more... |
Leonardo da Vinci: Painter at the Court of Milan, National GalleryMonday, 07 November 2011
Leonardo da Vinci was not a prolific artist. In a career that lasted nearly half a century, he probably painted no more than 20 pictures, and only 15 surviving paintings are currently agreed to be entirely his. Of these, four are incomplete. Read more... |
Alice in Wonderland: Through the Visual Arts, Tate LiverpoolFriday, 04 November 2011
What a curious curate’s egg Tate Liverpool has pulled out of its hat with Alice in Wonderland. And what a complete rag-bag of minor, uninteresting artists. Read more... |
The First Actresses: Nell Gwynne to Sarah Siddons, National Portrait GalleryWednesday, 02 November 2011
What is it that makes an exhibition special, keeps you looking longer than you expected, ensures you think about it long after you’ve left? Obviously, the art, or in a history show, the subject, is the first thing. The installation sometimes (although a good show is more usually damaged by poor installation than a poor one is rescued by good). Then there are the juxtapositions, the unexpected nuggets of information, novelty, rarity. Read more... |
George Condo: Mental States, Hayward Gallery/ Drawings, Sprüth Magers LondonSunday, 30 October 2011
The easiest mistake to make in appreciating George Condo would be to assume that his manic style reflects a manic creation or a manic practice. Some of Condo's paintings and drawings, with their childlike loops and gurning, disfigured faces, look like he made them in a fit of violence or some hysterical trance, but the real surprise of two new shows at the Hayward Gallery and at Sprüth Magers in Mayfair is the care and the calmness that lies behind them. Read more... |
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