News
artforum.com
Mar 19 2018
The New York Times
Mar 19 2018
artforum.com
Mar 19 2018
The New York Times
Mar 19 2018
The New York Times
Mar 19 2018
The New York Times
Mar 19 2018
artforum.com
Mar 19 2018
artforum.com
Mar 19 2018
artforum.com
Mar 19 2018
artforum.com
Mar 19 2018
artforum.com
Mar 19 2018
The Guardian
Mar 19 2018
When John William Waterhouse’s 1896 painting was taken off the walls of Manchester Art Gallery, furious critics described it as censorship or a publicity stunt. That couldn’t be further from the truth, says the artist at the centre of the storm
When John William Waterhouse’s painting Hylas and the Nymphs was removed from the walls of the Manchester Art Gallery at the end of January, all hell broke loose. Social media was electric with outraged cries of “censorship”. The critic Jonathan Jones asked whether this was the thin end of the wedge: would Picasso be off the walls next?
An Oxford professor of German wrote to the Guardian warning that this had happened before: Nazi curators had taken down works because they had “conflicted with their political aims and puritanical taste”. Messages poured into the museum’s website: some in support but more of them against. There were worries that the removal was an act of politically correct virtue signalling; wasn’t so far down the line from book-burning; was feminist extremism “at its worst”. There was also plain old irritation that a much-loved painting was not on view when visitors had travelled to see it.
Continue reading...The Guardian
Mar 19 2018
More than 300 sculptures and many ‘debut’ artworks to go on show in Montparnasse exhibition centre opening in June
Dozens of artworks by Alberto Giacometti never before shown in public are to be exhibited for the first time, along with a reconstruction of his chaotic, plaster-splattered studio.
An exhibition, education and research centre in Paris, named the Giacometti Institute, will open on 20 June, dedicated to the tortured genius whose elongated figures are among the greatest masterpieces of 20th-century art.
Continue reading...The Guardian
Mar 19 2018
The Guardian celebrates the work of multi-award winning cartoonist Martin Rowson, following the launch of Gimson’s Prime Ministers. Rowson has illustrated this concise, sharp-witted and illuminating account of the lives of Britain’s leaders from Walpole to May by Andrew Gimson.
The GNM Archive is proud to offer Rowson’s inimitable illustrations, exclusively available for the first time as collectible fine art prints. These lively and entertaining works of satire bring our parliamentary history to life as never before
The New York Times
Mar 19 2018
The Guardian
Mar 19 2018
Photographer Hatnim Lee has been working with charities in Haiti for the last eight years, capturing the lives of people she met along the way
Continue reading...The Guardian
Mar 18 2018
Labour asks foreign secretary to explain decisions behind failed project, which cost taxpayers £46m
Labour has written to Boris Johnson asking him to account for his role in the scrapped £46m London garden bridge project, after the foreign secretary had said he could not recall the reasons for key decisions he made.
The letter, from the shadow communities secretary, Andrew Gwynne, challenges Johnson over his claim earlier this month that a prominent journalist who has criticised the project was motivated by a personal dislike of its designer.
The New York Times
Mar 18 2018
The New York Times
Mar 18 2018
The Guardian
Mar 18 2018
National Portrait Gallery; National Gallery, London
The painter turned multimedia artist communes with vanishing worlds in the first two compelling instalments of her unprecedented three-museum triple bill
Three great actors appear on a screen not much bigger than a smartphone in a small, dark room of the National Portrait Gallery. Ben Whishaw is filmed in summer sunshine, a young man dreaming, reading, or waiting for some offstage presence. David Warner shifts in his seat, a mysterious interior monologue played out in his magnificently senatorial features. Stephen Dillane retreats from the camera, or turns directly into it with all the intimacy of an impending soliloquy. Each has been a famous Hamlet in his time – but what part are they playing now?
Tacita Dean’s new film, His Picture in Little, takes its title from Shakespeare’s tragedy. It twinkles in the gloom between two cases of Elizabethan miniatures and opposite the Chandos portrait of the Bard, all the connections subtle and superb. The actors turn in and out of profile or three-quarter view – captivating, brooding, confrontational, composed. They look like the painted people of the past (Whishaw exactly resembles the young John Donne) and they might seem to be acting. Yet they have not been directed, and nor are they posing.
Continue reading...The Guardian
Mar 18 2018
In 1978, Norman Foster’s Sainsbury Centre for Visual Arts at the University of East Anglia was a gleaming vision of the future. A forthcoming exhibition there celebrates a distinctly British architecture driven by free-form technology and high ideals
Ah yes, the 1970s. The three-day week, the winter of discontent, Austin Allegros, punch-ups with the National Front, mutterings of rightwing coups, the Sex Pistols swearing on family TV. They included, to be sure, such now unavailable non-trivia as free higher education, affordable housing and a functioning health service. But it was a decade that, having flared into being in the psychedelic glow of its predecessor, embrowned itself into the tones of hessian and muesli and the guttering shadows of power cuts. It was the time when architectural modernism, imploding under the weight of self-doubt and external criticism, gave way to a meek “neo-vernacular” of bricks and pitched roofs.
And then, in Norwich (to misquote the opening credits of the epoch’s epic game show, Sale of the Century), appeared an assured and beautiful statement of faith in the new: a shining shed on, if not quite a hill, this being Norfolk, at least an upward incline. The Sainsbury Centre for Visual Arts at the University of East Anglia, designed by the fortysomething architect Norman Foster, was, as he now says, based on “an optimistic view of the future”. The era’s mood of malaise and decay could only bounce off its aluminium hide.
Continue reading...The Guardian
Mar 17 2018
Artists using cutting-edge technology and forensic analysis have reconstructed a series of lost masterpieces, including versions of Monet’s Water Lilies and Van Gogh’s Sunflowers.
The re-creations are the work of Factum Arte, a group of artists and technicians whose projects have included an exact reproduction of the burial chamber of Tutankhamun. The Concert, a 17th-century work by Vermeer which was stolen in 1990 in the biggest art heist of modern times, has also been re-created, along with a 1954 portrait of Winston Churchill by Graham Sutherland, which the wartime leader’s wife, Clementine, destroyed in disgust.
Continue reading...The Guardian
Mar 17 2018
The head of a leading arts organisation has warned that London’s status as a world-class creative city is at risk because artists are being forced out of the capital.
Anna Harding, the chief executive of Space studios, which provides premises for nearly 800 artists including three Turner prize winners, blamed rising property prices and shrinking studios for dramatically squeezing the time and space available for creative activity. Artists now face a choice between working full time to pay the rent and fitting in a few hours in their studios at weekends, or giving up entirely, she said.
Continue reading...The Guardian
Mar 17 2018
The artist in traditional Mexican costume photographed by her Hungarian-born lover Nickolas Muray at the end of their secret affair
The Hungarian-American photographer and Olympic fencer Nickolas Muray took this photograph of Frida Kahlo in traditional Mexican dress and cigarette in hand on a rooftop in Greenwich Village, New York, in March 1939. The pair were at the end of a secret love affair that had begun in Mexico eight years earlier.
Kahlo, whose life will be celebrated in a large-scale exhibition of her personal belongings at the Victoria and Albert Museum in London opening on 16 June (for which tickets have just gone on sale), was then 32. She was in a moment of typically contrasting fortune, having just returned by boat from France where the surrealist André Breton had organised an exhibition of her work and where a painting of hers, the self-portrait The Frame, had been purchased by the Louvre. While in Paris she had, however, been ill once again: in hospital with a kidney infection. A few months earlier, her first solo show in New York had been a great success – the actor Edward G Robinson had bought four of her paintings – but all the time she was aware that, back in Mexico, her incendiary marriage to the painter and revolutionary Diego Rivera was unravelling.
Continue reading...The Guardian
Mar 17 2018
Urban Sketchers (also known as USk) is a worldwide group of more than 60,000 people who create drawings of the places they visit. Founded by journalist Gabriel Campanario in Seattle in 2007, the movement quickly went global with the help of social media. It is important that the drawings are done in situ. “It makes you look at things,” says Simone Ridyard, architect, senior lecturer at Manchester School of Art and a founder of the Manchester and Salford Urban Sketchers group. “Some of the things I really like are the tramlines and litter bins and postboxes – the urban clutter. It’s not about drawing beautiful things; it’s about what’s in front of you.”
Ridyard mainly uses fine-liner pens overlaid with watercolour, and has drawn places from Rio de Janeiro to Singapore to Padstow. The Manchester branch has more than 2,000 members, many of whom meet regularly to sketch individually or in groups. ”There’s no pressure; you might do one drawing, you might do five,” says Ridyard. “It’s about slowing down and enjoying the view.”
The New York Times
Mar 17 2018
The Guardian
Mar 17 2018
From arctic surfing to a special election in the US, protests against gun violence to the shooting of a popular politician in Rio, Russian fashion to the diplomatic row caused by the Skripal incident; we take a look at the week captured by the world’s best photojournalists
Continue reading...The Guardian
Mar 17 2018
To mark St Patrick’s Day, the Photographers’ Gallery in London is releasing newly restored pictures of rural Ireland in the 1950s and 1960s by a pioneer of British and Irish postcard art, John Hinde
Continue reading...The New York Times
Mar 16 2018
The Guardian
Mar 16 2018
From Claude Monet’s radiant water lilies to Paul Cézanne’s rendering of the verdant French countryside to the rosy pigments of Auguste Renoir, more than 65 masterpieces on loan from Paris’s Musée d’Orsay celebrate the 19th century’s most important art movement.
Tony Magnusson, coordinating curator at the Art Gallery of South Australia, talks Guardian Australia through the latest show
• Colours of Impressionism: Masterpieces from the Musée d’Orsay is on at the Art Gallery of South Australia from 29 March – 29 July
Continue reading...The New York Times
Mar 16 2018
artforum.com
Mar 16 2018
artforum.com
Mar 16 2018
artforum.com
Mar 16 2018
artforum.com
Mar 16 2018
The Guardian
Mar 16 2018
Samples taken for DNA tests that disproved paternity claim rejoin artist’s body in Catalonian tomb
Three decades after he died and eight months after his remains were disinterred to settle a paternity claim, Salvador Dalí has once again been laid to rest, in his entirety, beneath the museum he designed as a shrine to his own life and art.
The surrealist’s body was exhumed from its tomb in Figueres, Catalonia, in July after a judge gave the go-ahead to DNA tests to establish whether Dalí was the father of Pilar Abel, a tarot card reader and fortune teller who had long claimed to be his daughter.
Continue reading...The Guardian
Mar 16 2018
A one-off Facebook invitation to see the latest Palais de Tokyo exhibition nude out-stripped expectations – and left thousands on the waiting list
The Association des Naturistes de Paris (Association of Naturists of Paris) has announced – and rapidly closed, due to a rush on the limited spaces – a naked tour of the Palais de Tokyo on 5 May. The French capital’s contemporary art hotspot will host an exclusive matinee for members of the association to visit the museum-wide Discorde, Fille de la Nuit exhibition.
The tour will, l’Internaute reports, commence at 9:30am, guided by a member of the gallery staff, also in the nude, and take in works by eight different artists, including the British artist George Henry Longly and French collaborators Kader Attia and Jean-Jacques Lebel.
Continue reading...The New York Times
Mar 16 2018
The New York Times
Mar 16 2018
The Guardian
Mar 16 2018
High art and pop culture have often been mashed together – but rarely as effectively as on three Instagram accounts delighting fans of Monet, Alexa Chung and Harry Potter
First there were the memes. Then there were the funny animal videos. Now, a third wave of Instagram accounts has arisen; that of the high/low-culture hybrid, a beast that sees Hogwarts wizards decked out in Dior, and the lovers of Call Me By Your Name transplanted into the landscapes of Monet.
This phenomenon arguably began in January 2015, with the account Art-lexa Chung. Begun by Spanish sisters María and Beatriz Valdovín, its premise is simple: take a photo of Alexa Chung and place it next to a painting that resembles it. The results are uncanny. A post from January 2016 shows Chung in a bow-tied navy blue dress coat. Alongside, the 1895 Portrait of Baronne Madeleine Deslandes by Edward Burne-Jones depicts said Madeleine in almost the same dress. It’s downright eerie.
Continue reading...The New York Times
Mar 16 2018
artforum.com
Mar 16 2018
The Guardian
Mar 16 2018
Zehra Doğan was reportedly imprisoned for her painting of a damaged Turkish city
Banksy has unveiled a mural in New York highlighting the case of a Turkish artist who was jailed for nearly three years over a painting.
Zehra Doğan was reportedly imprisoned in 2017 for her painting of a damaged Turkish city.
Continue reading...artforum.com
Mar 16 2018
artforum.com
Mar 16 2018
The Guardian
Mar 16 2018
Edward Hopper lights up America’s jazz-age, while the Barbican celebrates a refuge for transvestites and the Tate welcomes Anthea Hamilton – all in your weekly dispatch
America’s Cool Modernism
The desolate urban vision of Edward Hopper contrasts with Charles Demuth’s futurist hymn I Saw the Figure 5 in Gold in this survey of American art in the jazz age.
• Ashmolean Museum, Oxford, 23 March to 22 July.