Provenance: How a Con Man and a Forger Rewrote the History of Modern Art by Laney Salisbury & Aly Sujo
One of art historian Leo Steinberg’s hobby horses is the way the literature of art generates interpretations that are autonomous of the images being described. What is written about a work can spin false leads and confused trails that looking directly at the work ought to dispel. Just as this happens with the historical interpretation of…
The background shadows throb with an almost Goya-esque expressionism. Maybe the matron is escaping into a sci-fi film. Maybe she’s wandering through the forbidden recesses of memory itself.
Jiang’s work is philosophy in motion: Essence of line and essence of modern truth are his constant themes.
Nine Lives: The Birth of Avant-Garde Art in New China by Karen Smith; and Ai WeiWei by Karen Smith, Hans Ulrich Obrisi, Bernard Fibicher
It may seem odd to locate the birth of the Chinese avant-garde so close to the present, for in the West that period style label is associated with the late 19th Century, but in the early 1980s, China was emerging from a long period of being effectively cut off from the outside world.
Thinking of herself as a “collector of souls,” Neel created an oeuvre that not only reveals different facets of humanity, but also sums up the diversity of American urban society.
16 February – 4 May 2009 The Hayward Gallery, London 16 May – 28 June 2009 Leeds Art Gallery 18 July – 20 September Glynn Vivian Art Gallery, Swansea At a first glance, The Russian Linesman, a group exhibition curated by Mark Wallinger seems to be an eclectic choice of art and artefacts, like a contemporary…
Broken Flowers and Grass: Nature and Landscape in the Drawings of Anselm Kiefer at the Metropolitan Museum of Art
Kiefer is a complicated independent, one who adopts the revanchist Neo Expressionist mode of his peers, yet embraces and exposes the repressed and tangled complexities of German life.
Precisely situated in undelineated seas of space, Granne’s forms feel at once boldly declarative and alarmingly precipitous.
Although this exhibition consists of a wide range of works done over the past two years it is purely, and unapologetically, commemorative in spirit.
Retrieved in tribute to John Chamberlain, 1927-2011