February 24 – August 8 2010
Rating: 5 out of 5
http://www.tate.org.uk/britain/exhibitions/henrymoore/default.shtm
Henry Moore is one of the greatest sculptures of the 20th century, and certainly one of the most famous British artists who gained global recognition. His monumental works are interspersed throughout the globe adorning office buildings, estates, and parks. During his life, there was Henry Moore the artists, and Henry Moore the salesman. It was the salesman that ultimately left a mark with ever larger work whose commercialization meant a necessary loss of soul.
But none of those questions are evident in this excellent show at the Tate Britain, which exhibits his early work and his smaller scale, more intricate sculptures. They feel at times soft and intimate and at times hard and outrageous. Showing the very best of his work, the show rambles its way through the various mediums, wood, stone, and metal, with an amazing palate cleanser of some wartime sketches in the middle. Setting the atmosphere for the show are also some preparatory sketches that make you feel as if you’re viewing the artist’s studio.
Moore’s reclining figures are represented well with some fine examples chosen to show the fluid lines and unending curves to their perfection. His other sculptures are also quite radical and interesting, including some fascinating incorporation of textile as well as some abstract shapes. Even his shelter drawings, which received a lot of attention at the time, still feel tragic, heroic and agonizing. The only let-down is the last room, which feels empty and cold.
Overall a beautiful show reminding us all just what a great talent Henry Moore was.
Wednesday 24 March 2010
Barbican Art Gallery – Ron Arad: Restless
February 18 – May 16, 2010
Rating: 5 out of 5
http://www.barbican.org.uk/artgallery/event-detail.asp?ID=10521
This fantastic show is described by the tagline, “architecture, art, design, and ping pong”. This accurately describes both the wide variety of talent of Arad as well as his sense of humour and whimsy. The whole exhibition is an absolute marvel – as if wondering around a magical word where the furniture is art and the art is functional and both are interconnected in a very intimate way.
Starting off at the upper level, Arad’s work is shown in separate rooms under various themes, including Scavenging, Tinkering, and Voiding. The work in room 2, are quite interesting and the one entitled The Quick Fox and the Lazy Dog is pure poetry, complete with an ancient typewriter and live moss. There are some fluid smooth lines as well as explorations of various techniques and finishes interspersed throughout the show. Room 8 also has some fantastic sculptures, various versions of bodyguards, including a Swiss cheese one that is just lovely.
And then we go to the lower level where the awe-factor continues with two complementary and opposite chairs in section 9, as well as some fabulous book cases that are pure imagination in section 10. But it is room 13 that in scale and vision is the most impressive, both with the huge U.S.A.-shaped bookcase and the fabulous Reinventing the Wheel, which run up and down the room on rails while keeping the books they protect perfectly in place.
Go see this show to find some inspiration from an artist who has refused to be caged in by labels.
Rating: 5 out of 5
http://www.barbican.org.uk/artgallery/event-detail.asp?ID=10521
This fantastic show is described by the tagline, “architecture, art, design, and ping pong”. This accurately describes both the wide variety of talent of Arad as well as his sense of humour and whimsy. The whole exhibition is an absolute marvel – as if wondering around a magical word where the furniture is art and the art is functional and both are interconnected in a very intimate way.
Starting off at the upper level, Arad’s work is shown in separate rooms under various themes, including Scavenging, Tinkering, and Voiding. The work in room 2, are quite interesting and the one entitled The Quick Fox and the Lazy Dog is pure poetry, complete with an ancient typewriter and live moss. There are some fluid smooth lines as well as explorations of various techniques and finishes interspersed throughout the show. Room 8 also has some fantastic sculptures, various versions of bodyguards, including a Swiss cheese one that is just lovely.
And then we go to the lower level where the awe-factor continues with two complementary and opposite chairs in section 9, as well as some fabulous book cases that are pure imagination in section 10. But it is room 13 that in scale and vision is the most impressive, both with the huge U.S.A.-shaped bookcase and the fabulous Reinventing the Wheel, which run up and down the room on rails while keeping the books they protect perfectly in place.
Go see this show to find some inspiration from an artist who has refused to be caged in by labels.
BFI Gallery – Retrospectre Mat Collishaw
February 26 – May 9 2010
Rating: 4 out of 5
http://www.bfi.org.uk/whatson/bfi_southbank/exhibitions/bfi_gallery
Part of the Young British Artists that came to fame in the 1980s and 1990s, Mat Collishaw has explored a variety of mediums, including painting and photography, and in the BFI gallery, video art.
Projected upon a wooden altarpiece with numerous interesting cut-outs and add-ins, including a birdcage, the relatively short work of art is quite interesting. The framing of each individual and simultaneously projected piece of video is excellent, giving form and focus to each part of the whole while allowing for complementary cohesiveness.
The installation is inspired by a great film director and artist, Sergei Paradjanov, whose films are currently being celebrated at the BFI. But you don’t need to know who Paradjanov is to appreciate Mat’s work. The videos explore the universal subjects of life and death, the power of nature and humanity’s interaction with it. Some images are quite contemplative, others are awe-inspiring, and still others are quite disturbing. Grace and beauty sit well alongside blood and fear.
Overall quite an excellent and well-focused work that is at times violent and other times serene and thought provoking throughout.
Rating: 4 out of 5
http://www.bfi.org.uk/whatson/bfi_southbank/exhibitions/bfi_gallery
Part of the Young British Artists that came to fame in the 1980s and 1990s, Mat Collishaw has explored a variety of mediums, including painting and photography, and in the BFI gallery, video art.
Projected upon a wooden altarpiece with numerous interesting cut-outs and add-ins, including a birdcage, the relatively short work of art is quite interesting. The framing of each individual and simultaneously projected piece of video is excellent, giving form and focus to each part of the whole while allowing for complementary cohesiveness.
The installation is inspired by a great film director and artist, Sergei Paradjanov, whose films are currently being celebrated at the BFI. But you don’t need to know who Paradjanov is to appreciate Mat’s work. The videos explore the universal subjects of life and death, the power of nature and humanity’s interaction with it. Some images are quite contemplative, others are awe-inspiring, and still others are quite disturbing. Grace and beauty sit well alongside blood and fear.
Overall quite an excellent and well-focused work that is at times violent and other times serene and thought provoking throughout.
Monday 22 March 2010
176 Zabludowicz Collection – The Library of Babel - In and Out of Place
February 25 – May 9 2010
Rating: 5 out of 5
http://www.zabludowiczcollection.com/
http://www.projectspace176.com/
Newly opened exhibition space dedicated to bringing emerging artists to new audiences, the Zabludowicz Collection has over 2,000 works from more than 600 international artists in its archives. Its stunning venue in a former church in Camden plays host to its first exhibition of more than 200 works. This must-see exhibition includes some well known names that seem undercover, including Gerhard Richter, John Baldessari, Tracey Emin and Mat Collishaw with lesser known artists.
Wonderfully presented in a variety of rooms, the show feels fresh, young and interesting. You feel as if you’re entering an artist studio, a grungy warehouse space, or squatters premises, complete with the peeling paint, damaged hardwood floors and exposed pipework. All very rough around the edges, atmospheric and presenting a wonderful setting to some fantastic work, much of which is provocative without being forced. With such a variety of work on show, it’s impossible to recommend a specific room on highlight a particular favourite as ultimately they all complement each other to form a comprehensive picture of the variety of contemporary art.
There is some really interesting and cool stuff on show in this fantastic space. Perhaps, the most interesting part of this show is the guest curating aspect of it – both with scheduled tours through the exhibitions led by some of the artists as well as allowing any viewer to lead their own tour through the show. Run to see this show immediately – you will not forget it.
Rating: 5 out of 5
http://www.zabludowiczcollection.com/
http://www.projectspace176.com/
Newly opened exhibition space dedicated to bringing emerging artists to new audiences, the Zabludowicz Collection has over 2,000 works from more than 600 international artists in its archives. Its stunning venue in a former church in Camden plays host to its first exhibition of more than 200 works. This must-see exhibition includes some well known names that seem undercover, including Gerhard Richter, John Baldessari, Tracey Emin and Mat Collishaw with lesser known artists.
Wonderfully presented in a variety of rooms, the show feels fresh, young and interesting. You feel as if you’re entering an artist studio, a grungy warehouse space, or squatters premises, complete with the peeling paint, damaged hardwood floors and exposed pipework. All very rough around the edges, atmospheric and presenting a wonderful setting to some fantastic work, much of which is provocative without being forced. With such a variety of work on show, it’s impossible to recommend a specific room on highlight a particular favourite as ultimately they all complement each other to form a comprehensive picture of the variety of contemporary art.
There is some really interesting and cool stuff on show in this fantastic space. Perhaps, the most interesting part of this show is the guest curating aspect of it – both with scheduled tours through the exhibitions led by some of the artists as well as allowing any viewer to lead their own tour through the show. Run to see this show immediately – you will not forget it.
Foundling Museum – Mat Collishaw, Tracey Emin, Paula Rego
January 27 – May 29 2010
Rating: 4 out of 5
http://www.foundlingmuseum.org.uk/exhibit_temp.php
This gem of a museum is set in a beautiful house with some excellent works in its permanent collection. Starting its life as a charity to take in abandoned children in the 18th century, since the very early days, it also acted as a gallery with artists donating their work to the good cause. Spread over four floors, Britain’s first public art gallery mixes its permanent and temporary exhibitions throughout, including the facade of the building.
On the ground floor, the small committee room has some lovely paintings, including a beautiful large work by William Hogarth. The impressive staircase is lined with fantastic portraits, including my personal favourite, The Pinch of Poverty by Thomas Benjamin Kennington. And then, there is the fantastic court room on the first floor with several gorgeous paintings and a stunning ceiling.
The temporary exhibition has some big hitter names, showing work that specifically relates to the history and purpose of the Foundling Museum. Tracey Emin’s work is typically mixed, including light sculpture, bronze work, and sketches, but mostly uninteresting. In contrast, Mat Collishaw’s work is fantastic. Equally as relevant to the building but much more absorbing, his photograph on the first floor is stunning. Paula Rego’s work, with the fantastic Oratorio on the first floor landing is reminiscent of marionettes. The lower floor is the only place in the museum where white walls present the work of all three temporary exhibiting artists. In this room, Collishaw’s work is quite interesting, Emin’s is basic, and Rego’s is thoughtful and absorbing.
Rating: 4 out of 5
http://www.foundlingmuseum.org.uk/exhibit_temp.php
This gem of a museum is set in a beautiful house with some excellent works in its permanent collection. Starting its life as a charity to take in abandoned children in the 18th century, since the very early days, it also acted as a gallery with artists donating their work to the good cause. Spread over four floors, Britain’s first public art gallery mixes its permanent and temporary exhibitions throughout, including the facade of the building.
On the ground floor, the small committee room has some lovely paintings, including a beautiful large work by William Hogarth. The impressive staircase is lined with fantastic portraits, including my personal favourite, The Pinch of Poverty by Thomas Benjamin Kennington. And then, there is the fantastic court room on the first floor with several gorgeous paintings and a stunning ceiling.
The temporary exhibition has some big hitter names, showing work that specifically relates to the history and purpose of the Foundling Museum. Tracey Emin’s work is typically mixed, including light sculpture, bronze work, and sketches, but mostly uninteresting. In contrast, Mat Collishaw’s work is fantastic. Equally as relevant to the building but much more absorbing, his photograph on the first floor is stunning. Paula Rego’s work, with the fantastic Oratorio on the first floor landing is reminiscent of marionettes. The lower floor is the only place in the museum where white walls present the work of all three temporary exhibiting artists. In this room, Collishaw’s work is quite interesting, Emin’s is basic, and Rego’s is thoughtful and absorbing.
Serpentine Gallery – Richard Hamilton
March 3 – April 25 2010
Rating: 4 out of 5
http://www.serpentinegallery.org/2010/03/richard_hamilton23_february_18.html
The Serpentine Gallery presents a solo exhibition by one of Britain’s most well-renowned living artists, Richard Hamilton. Representing Britain at the 1993 Venice Biennale and with a variety of big name exhibitions under his belt, Hamilton has gained a reputation of exciting work with a social consciousness. Throughout his 50+ years of work, he has worked in a variety of media, including traditional painting and prints as well as various mixed media and installation work.
Most of Hamilton’s work has a meaning behind it, refreshingly mostly sex-free. Hamilton ticks the box of the biggies including global politics, civil unrest, terrorism, and war. Some of it is overpoweringly obvious (such as a painting of former British Prime Minister Tony Blair dressed up as an American Cowboy) and other is more subtle. The result is a mix – some of the work was perhaps radical in its day but with modern eyes seems average and tired, but other still is quite stirring and challenging. The central room of the gallery showcases the best highlights with Jesus walking along as just an average guy and TV dripping blood.
Like most other artists, some of Hamilton’s work still feels quite relevant and raw with an impact worthy of his status in the art world. But other is mundane and uninspiring leading to questions about Hamilton’s inspiration or lack thereof. Well, we can’t all get it right all the time.
Overall a good, but not great, show.
Rating: 4 out of 5
http://www.serpentinegallery.org/2010/03/richard_hamilton23_february_18.html
The Serpentine Gallery presents a solo exhibition by one of Britain’s most well-renowned living artists, Richard Hamilton. Representing Britain at the 1993 Venice Biennale and with a variety of big name exhibitions under his belt, Hamilton has gained a reputation of exciting work with a social consciousness. Throughout his 50+ years of work, he has worked in a variety of media, including traditional painting and prints as well as various mixed media and installation work.
Most of Hamilton’s work has a meaning behind it, refreshingly mostly sex-free. Hamilton ticks the box of the biggies including global politics, civil unrest, terrorism, and war. Some of it is overpoweringly obvious (such as a painting of former British Prime Minister Tony Blair dressed up as an American Cowboy) and other is more subtle. The result is a mix – some of the work was perhaps radical in its day but with modern eyes seems average and tired, but other still is quite stirring and challenging. The central room of the gallery showcases the best highlights with Jesus walking along as just an average guy and TV dripping blood.
Like most other artists, some of Hamilton’s work still feels quite relevant and raw with an impact worthy of his status in the art world. But other is mundane and uninspiring leading to questions about Hamilton’s inspiration or lack thereof. Well, we can’t all get it right all the time.
Overall a good, but not great, show.
Natural History Museum – Veolia Environnement Wildlife Photographer of the Year exhibition
October 23 2009 – April 11 2010
Rating: 5 out of 5
http://www.nhm.ac.uk/visit-us/whats-on/temporary-exhibitions/wpy/index.jsp
This annual photographic exhibition displaying the most talented nature photographers is usually quite good. And this year does not disappoint. Atmospherically set in a dimly lit section of the museum, this show has some spectacular images of the natural world, flora and fauna alike. The focus of the show is capturing animal behaviour on land, in the air, and underwater. Some photographs are fantastic in how they capture the sometimes whimsical and loving and other times frightening behaviour of animals. Others are simply aesthetically stunning showing animals in their gorgeous natural habitats. Of the different wonderful rooms, Wild Places and Animals in their Environment are the highlights.
But you don’t have to be an animal lover to enjoy the exhibition. In Praise of Plants shows some amazing photographs of various plants, including a fantastic photo of a salsify canopy. Then, there is the nature in black and white gallery which is pure poetry.
The most interesting part of the exhibition is the young photographers section, split in different age brackets starting as young as under 10 and going up to 18. It’s really quite surprising to see some lovely photos and realize just how young the photographers are.
Overall, yet another gorgeous show in a long line of excellent annual exhibitions. A good reminder of all that is green or blue, alive and worthy of our respect and appreciation.
Rating: 5 out of 5
http://www.nhm.ac.uk/visit-us/whats-on/temporary-exhibitions/wpy/index.jsp
This annual photographic exhibition displaying the most talented nature photographers is usually quite good. And this year does not disappoint. Atmospherically set in a dimly lit section of the museum, this show has some spectacular images of the natural world, flora and fauna alike. The focus of the show is capturing animal behaviour on land, in the air, and underwater. Some photographs are fantastic in how they capture the sometimes whimsical and loving and other times frightening behaviour of animals. Others are simply aesthetically stunning showing animals in their gorgeous natural habitats. Of the different wonderful rooms, Wild Places and Animals in their Environment are the highlights.
But you don’t have to be an animal lover to enjoy the exhibition. In Praise of Plants shows some amazing photographs of various plants, including a fantastic photo of a salsify canopy. Then, there is the nature in black and white gallery which is pure poetry.
The most interesting part of the exhibition is the young photographers section, split in different age brackets starting as young as under 10 and going up to 18. It’s really quite surprising to see some lovely photos and realize just how young the photographers are.
Overall, yet another gorgeous show in a long line of excellent annual exhibitions. A good reminder of all that is green or blue, alive and worthy of our respect and appreciation.
Saturday 13 March 2010
Rivington Place – Progress Reports: art in an era of diversity
January 28 – March 13 2010
Rating: 2 out of 5
http://www.rivingtonplace.org/
Of all the topics that should produce some fantastic art, both beautiful and challenging, laden with meaning and with passion, the subject of diversity sadly fails to resonate. The scene is set for some amazing work – London (one of the most diverse cities in the world), the east end (particularly known for its diversity and creative flair), the Rivington Place (a venue which is at the heart of creative London) and those brightly coloured works gracing the windows shouting for the passerby to come inside. Unfortunately, this exhibition is bitterly disappointing.
Completely overwhelmed by merely adequate and satisfactory work, the show completely lacks any originality, voice, or aesthetic flair. There is some clever stuff – music that stutters both in an auditory way and visually through scribbles on sheet music. There are also some attempts at some meaning, which are either too subtle or too blunt to really make any sort of impact.
Indeed the saving grace of this exhibition is the fascinating video art on the second floor. Selected by Karen Alexander, some of the videos in the Dreams Deferred series include some fascinating video that examine the perceptions, stereotypes, and misconceptions perpetuated by mass media and the film industry. It’s scary and sad to see the racism, whether overt or subtle, in the portrayals of black people in films. Sadly, the rest of the show is not nearly as insightful or engaging.
Rating: 2 out of 5
http://www.rivingtonplace.org/
Of all the topics that should produce some fantastic art, both beautiful and challenging, laden with meaning and with passion, the subject of diversity sadly fails to resonate. The scene is set for some amazing work – London (one of the most diverse cities in the world), the east end (particularly known for its diversity and creative flair), the Rivington Place (a venue which is at the heart of creative London) and those brightly coloured works gracing the windows shouting for the passerby to come inside. Unfortunately, this exhibition is bitterly disappointing.
Completely overwhelmed by merely adequate and satisfactory work, the show completely lacks any originality, voice, or aesthetic flair. There is some clever stuff – music that stutters both in an auditory way and visually through scribbles on sheet music. There are also some attempts at some meaning, which are either too subtle or too blunt to really make any sort of impact.
Indeed the saving grace of this exhibition is the fascinating video art on the second floor. Selected by Karen Alexander, some of the videos in the Dreams Deferred series include some fascinating video that examine the perceptions, stereotypes, and misconceptions perpetuated by mass media and the film industry. It’s scary and sad to see the racism, whether overt or subtle, in the portrayals of black people in films. Sadly, the rest of the show is not nearly as insightful or engaging.
Calvert 22 - Photo I, Photo You
January 28 – March 28 2010
Rating: 4 out of 5
http://www.calvert22.org/e/exhibition-programme/photo-i-photo-you
One of the new kids on the block, with less than a year of exhibitions under its belt, Calvert 22 presents its fourth exhibition. Focused solely on contemporary art from Russia and Eastern Europe, the foundation aims to promote art from this region but also showcase its diversity. For the past twenty years, contemporary art from this region of the world has been undergoing a renaissance that its unique history and juxtaposition of people, religion and politics has created.
On the ground floor of the wonderful bright and open space, Igor Eskinja’s dust composition is the first work that makes an impact with its lovely detail and temporary beauty. But it is the excellent photographs incorporating overlapping images that are nostalgic and thoughtful. Aesthetically beautiful, they are also charged with meaning that is demanding to be deciphered. Ján Mančuška’s photo negatives are also quite interesting. Beautifully displayed, they are quite a fascinating examination of our bodies and self-perception.
The lower floor has some interesting video art. Anna Jermolaeva’s oddly captivating video of traditional Russian nevaliashka tilting dolls rolling around would be silly except for the symbolism of mere humans caught in the storm of politics and history. Olga Chernysheva’s work is a voyeur’s paradise with multiple street windows offering a glimpse into both people’s lives and the act of watching others while going unnoticed. Lastly, Stefania Babeva’s interesting paper sculptures and photographs are beautifully intricate.
Overall a good show showcasing some exciting new talent. But you can’t help but feel that in all the lovely nuances, subtlety, subtext and symbolism, some punches are being pulled and some self-editing is constricting artistic expression.
Rating: 4 out of 5
http://www.calvert22.org/e/exhibition-programme/photo-i-photo-you
One of the new kids on the block, with less than a year of exhibitions under its belt, Calvert 22 presents its fourth exhibition. Focused solely on contemporary art from Russia and Eastern Europe, the foundation aims to promote art from this region but also showcase its diversity. For the past twenty years, contemporary art from this region of the world has been undergoing a renaissance that its unique history and juxtaposition of people, religion and politics has created.
On the ground floor of the wonderful bright and open space, Igor Eskinja’s dust composition is the first work that makes an impact with its lovely detail and temporary beauty. But it is the excellent photographs incorporating overlapping images that are nostalgic and thoughtful. Aesthetically beautiful, they are also charged with meaning that is demanding to be deciphered. Ján Mančuška’s photo negatives are also quite interesting. Beautifully displayed, they are quite a fascinating examination of our bodies and self-perception.
The lower floor has some interesting video art. Anna Jermolaeva’s oddly captivating video of traditional Russian nevaliashka tilting dolls rolling around would be silly except for the symbolism of mere humans caught in the storm of politics and history. Olga Chernysheva’s work is a voyeur’s paradise with multiple street windows offering a glimpse into both people’s lives and the act of watching others while going unnoticed. Lastly, Stefania Babeva’s interesting paper sculptures and photographs are beautifully intricate.
Overall a good show showcasing some exciting new talent. But you can’t help but feel that in all the lovely nuances, subtlety, subtext and symbolism, some punches are being pulled and some self-editing is constricting artistic expression.
British Museum – Kingdom of Ife - Sculptures From West Africa
March 4 – June 6 2010
Rating: 5 out of 5
http://www.britishmuseum.org/whats_on/all_current_exhibitions/kingdom_of_ife.aspx
Continuing the British Museum’s series of ancient kingdoms, this time it’s Africa’s turn to shine, and shine it does. The showcase is graceful sculptures by the people of the Ife – an ancient city-state in modern day Nigeria. The fascinating works of art use a variety of materials – copper, brass, terracotta and stone. The skill of the artisans is clear with unbelievable detail and wonderful lifelike precision. But it’s something else about these works that draws the viewer in. As anthropologist William Bascom rightly said, “the appeal of their beauty is immediate and universal.”
Of the various pieces on show, it is the regal grace and serene beauty of the metal heads that are most striking. It’s easy to see how such work inspired many of the great European artists, when they looked further for inspiration. The likes of Modigliani, Picasso and Matisse were only a few of the artists that were inspired by the stylized human figure found in African art.
The most frustrating thing about the exhibition is the relatively few works actually on display. Confusingly, the exhibition makes no mention of the related and arguably more impressive metal works in the African gallery of the Museum’s permanent collection. Part of this exhibition should also be the work, particularly the spectacular Benin plaques, in room 25 of the museum. While the focus of the temporary exhibition is the people of Ife and the Benin plaques were done by the Yoruba people, both tribes are from a similar area of present day Nigeria seems. Once you are charmed by the unique beauty and grace of the ancient artisans of this part of the world, you will be drawn to seek out more.
In combination with the museum’s permanent African gallery, this is an overall excellent show that explores the fantastically skilled creativity of a region that deserves more attention.
Rating: 5 out of 5
http://www.britishmuseum.org/whats_on/all_current_exhibitions/kingdom_of_ife.aspx
Continuing the British Museum’s series of ancient kingdoms, this time it’s Africa’s turn to shine, and shine it does. The showcase is graceful sculptures by the people of the Ife – an ancient city-state in modern day Nigeria. The fascinating works of art use a variety of materials – copper, brass, terracotta and stone. The skill of the artisans is clear with unbelievable detail and wonderful lifelike precision. But it’s something else about these works that draws the viewer in. As anthropologist William Bascom rightly said, “the appeal of their beauty is immediate and universal.”
Of the various pieces on show, it is the regal grace and serene beauty of the metal heads that are most striking. It’s easy to see how such work inspired many of the great European artists, when they looked further for inspiration. The likes of Modigliani, Picasso and Matisse were only a few of the artists that were inspired by the stylized human figure found in African art.
The most frustrating thing about the exhibition is the relatively few works actually on display. Confusingly, the exhibition makes no mention of the related and arguably more impressive metal works in the African gallery of the Museum’s permanent collection. Part of this exhibition should also be the work, particularly the spectacular Benin plaques, in room 25 of the museum. While the focus of the temporary exhibition is the people of Ife and the Benin plaques were done by the Yoruba people, both tribes are from a similar area of present day Nigeria seems. Once you are charmed by the unique beauty and grace of the ancient artisans of this part of the world, you will be drawn to seek out more.
In combination with the museum’s permanent African gallery, this is an overall excellent show that explores the fantastically skilled creativity of a region that deserves more attention.
Tuesday 23 February 2010
Tate Modern – Van Doesburg & the International Avant-Garde: Constructing a New World
Tate Modern – Van Doesburg & the International Avant-Garde: Constructing a New World (February 4 – May 16 2010)
4 out of 5
February at the Tate Modern seems to be all about reassessing new directions in thinking and art – an elegant choice for the spring season. This exhibition includes a number of works by various artists that participated in the Avant-Garde movement of the early 1900s, with a particular focus on the work of Theo van Doesburg. A veritable smorgasborg of geometric abstraction, the show is overwhelmed with angles, sharp lines and a refusal to paint anything that looks too natural.
The exhibition starts of slowly, gently introducing the viewer to the work and life of van Doesburg. An artist wearing many hats as a painter, designer, writer and editor, van Doesburg’s rejection of the past and hope for the future becomes increasingly evident through what is on display. But despite the quality of his work, it is easy to get too complacent about van Doesburg’s talent as an artist and a visionary of his time. Room 6 is where the exhibition really makes an impact with the viewer, presenting insightful quotes by the artist alongside his paintings. From Dadaism to nothingness and the art of the proletariat, van Doesburg’s words set the background for his inspiration. His own words place a much needed context around his work unlike any dry explanation can and offer a fascinating insight into his mind.
Room 9 is one of the highlights of the exhibition. A nice change from the ascetic white walls of the other rooms, this space combines van Doesburg’s paintings with his work as an architect and designer. Sadly, the last rooms do not build up from that point, but are merely consistent with the quality of work shown beforehand. Overall, an excellent show for a great artist whose words will echo in your ear long after memories of his paintings have disappeared.
4 out of 5
February at the Tate Modern seems to be all about reassessing new directions in thinking and art – an elegant choice for the spring season. This exhibition includes a number of works by various artists that participated in the Avant-Garde movement of the early 1900s, with a particular focus on the work of Theo van Doesburg. A veritable smorgasborg of geometric abstraction, the show is overwhelmed with angles, sharp lines and a refusal to paint anything that looks too natural.
The exhibition starts of slowly, gently introducing the viewer to the work and life of van Doesburg. An artist wearing many hats as a painter, designer, writer and editor, van Doesburg’s rejection of the past and hope for the future becomes increasingly evident through what is on display. But despite the quality of his work, it is easy to get too complacent about van Doesburg’s talent as an artist and a visionary of his time. Room 6 is where the exhibition really makes an impact with the viewer, presenting insightful quotes by the artist alongside his paintings. From Dadaism to nothingness and the art of the proletariat, van Doesburg’s words set the background for his inspiration. His own words place a much needed context around his work unlike any dry explanation can and offer a fascinating insight into his mind.
Room 9 is one of the highlights of the exhibition. A nice change from the ascetic white walls of the other rooms, this space combines van Doesburg’s paintings with his work as an architect and designer. Sadly, the last rooms do not build up from that point, but are merely consistent with the quality of work shown beforehand. Overall, an excellent show for a great artist whose words will echo in your ear long after memories of his paintings have disappeared.
Whitechapel Gallery – Where Three Dreams Cross: 150 Years of Photography from India, Pakistan, and Bangladesh
Whitechapel Gallery – Where Three Dreams Cross: 150 Years of Photography from India, Pakistan, and Bangladesh (January 21 – April 21 2010)
5 out of 5
If it seems that London’s cultural landscape is currently infatuated with all things from the Asian subcontinent, that’s because it is. From the Indian Winter season on Channel 4, to the Saatchi Gallery’s exhibition as well as the British Museum, V&A and Serpentine Gallery, 2010 is the year of the subcontinent. And London is better for it. Unlike some of the other venues’ exhibitions which can lack authenticity, the photography exhibition currently on at the Whitechapel Gallery rings true. Partly due to the intimacy of photography as a medium and perhaps because of the inclusion of professional, amateur, and personal works, this exhibition is brilliant.
Over 400 photographs present a full experience for the viewer – black and white alongside colour, political figures alongside anonymous family members and people on the street. Spread over two floors, the exhibition focuses on five themes that encompass the past and present of the Asian subcontinent. With so many good quality photographs on display, it’s difficult to choose a favourite, or even recommend a specific room as the exhibition is consistently good throughout the three separate galleries. On the ground floor, the brilliantly coloured portraits of Nandini Valli Muthiah and the dream-like work of Prabuddha Dasgupta stand out as exceptionally stunning. On the upper level, Anay Mann, Asim Hafeez, Munem Wasif, Tapu Javeri, Raghubir Singh, Arif Ali, and Dayanita Singh’s work make a striking impact.
Most interestingly, the rigidity and formality of the 1940s and 1950s photographs given way to a new freedom of expression. The older works often focus on political figures, while the new ones include a much wider range of people. In the contemporary arena of photography, all the citizens are their own subjects – and that is what makes this exhibition feel so relevant, authentic, and intimate. Not to be missed.
If it seems that London’s cultural landscape is currently infatuated with all things from the Asian subcontinent, that’s because it is. From the Indian Winter season on Channel 4, to the Saatchi Gallery’s exhibition as well as the British Museum, V&A and Serpentine Gallery, 2010 is the year of the subcontinent. And London is better for it. Unlike some of the other venues’ exhibitions which can lack authenticity, the photography exhibition currently on at the Whitechapel Gallery rings true. Partly due to the intimacy of photography as a medium and perhaps because of the inclusion of professional, amateur, and personal works, this exhibition is brilliant.
Over 400 photographs present a full experience for the viewer – black and white alongside colour, political figures alongside anonymous family members and people on the street. Spread over two floors, the exhibition focuses on five themes that encompass the past and present of the Asian subcontinent. With so many good quality photographs on display, it’s difficult to choose a favourite, or even recommend a specific room as the exhibition is consistently good throughout the three separate galleries. On the ground floor, the brilliantly coloured portraits of Nandini Valli Muthiah and the dream-like work of Prabuddha Dasgupta stand out as exceptionally stunning. On the upper level, Anay Mann, Asim Hafeez, Munem Wasif, Tapu Javeri, Raghubir Singh, Arif Ali, and Dayanita Singh’s work make a striking impact.
Most interestingly, the rigidity and formality of the 1940s and 1950s photographs given way to a new freedom of expression. The older works often focus on political figures, while the new ones include a much wider range of people. In the contemporary arena of photography, all the citizens are their own subjects – and that is what makes this exhibition feel so relevant, authentic, and intimate. Not to be missed.
The Photographers’ Gallery – Dieutsche Börse Photography Prize 2010
The Photographers’ Gallery – Dieutsche Börse Photography Prize 2010 (February 12 – April 18 2010)
4 out of 5
In its 15th year, the Deutsche Börse Photography Prize is intended to recognize a living photographer of any nationality who has made the strongest contribution to photography in Europe during the preceeding year. The The four final nominees are on display at the Photographers’ Gallery, which tends to host excellent shows. This year is no exception.
Having settled nicely into its new location off Oxford Street, the Photographers’ Gallery presents the work of the four nominees over two separate floors giving Sophie Ristelhueber the unfair advantage or disadvantage of introducing the viewer to this year’s nominees with her ground floor space. Ristelhueber’s large scale photos are good, but they lack cohesion and are ultimately superseded by the competition.
On the second floor, the other three nominees battle for the prize, with the mood starting from humorous to nostalgic and lastly to sombre. Anna Fox’s work, humorous and provocative, starts the second floor tour. Visually interesting, her work includes portraits as well as photos of household objects accompanied by humorous poetry. Zoe Leonard’s work provides an entirely different atmosphere. Focusing on the overlooked items in modern life – shoes, abandoned stores, old posters, her photographs are excellent. Smaller in scale than they could be, they are completely devoid of human life. The last nominee, Donovan Wylie tugs at the heartstrings with his photographs of the Maze Prison in Northern Ireland. The emotional heavyweight photographs show torn and bent metal fences in a landscape of desperate desolation. Wylie’s work is especially interesting in that it transforms symbols of pain and conflict into aesthetically beautiful and architectural photographs.
Overall, an excellent exhibition by four talented photographers. The judges have their work cut out for them.
In its 15th year, the Deutsche Börse Photography Prize is intended to recognize a living photographer of any nationality who has made the strongest contribution to photography in Europe during the preceeding year. The The four final nominees are on display at the Photographers’ Gallery, which tends to host excellent shows. This year is no exception.
Having settled nicely into its new location off Oxford Street, the Photographers’ Gallery presents the work of the four nominees over two separate floors giving Sophie Ristelhueber the unfair advantage or disadvantage of introducing the viewer to this year’s nominees with her ground floor space. Ristelhueber’s large scale photos are good, but they lack cohesion and are ultimately superseded by the competition.
On the second floor, the other three nominees battle for the prize, with the mood starting from humorous to nostalgic and lastly to sombre. Anna Fox’s work, humorous and provocative, starts the second floor tour. Visually interesting, her work includes portraits as well as photos of household objects accompanied by humorous poetry. Zoe Leonard’s work provides an entirely different atmosphere. Focusing on the overlooked items in modern life – shoes, abandoned stores, old posters, her photographs are excellent. Smaller in scale than they could be, they are completely devoid of human life. The last nominee, Donovan Wylie tugs at the heartstrings with his photographs of the Maze Prison in Northern Ireland. The emotional heavyweight photographs show torn and bent metal fences in a landscape of desperate desolation. Wylie’s work is especially interesting in that it transforms symbols of pain and conflict into aesthetically beautiful and architectural photographs.
Overall, an excellent exhibition by four talented photographers. The judges have their work cut out for them.
Tate Modern – Arshile Gorky, A Retrospective
Tate Modern – Arshile Gorky, A Retrospective (February 10 – May 3 2010)
4 out of 5
The Tate Modern launches its spring season with an excellent show presenting a lifetime of work by one of the more underrated American painters, Arshile Gorky. Despite the confusing promotional materials that advertise Gorky’s portraits, the exhibition is a cornucopia of geometric design. Incorporating influences of several artistic movements, the majority of work is abstract with a focus on patterns and angles.
Gorky’s transformation from a pupil of others to a master with his own voice is clear. The initial rooms have hints of Cezanne, Picasso, Klee, and Picabia as the colours alternate between depth and translucency. Room 3 is the black and white palate cleanser before colour assault of room 4, where the exhibition really takes off as the scale of the work increases. This is where Gorky really hit his stride as an artist with his own vision of pale lemon yellows, bright oranges, and full reds.
Only one room (7) reflects Gorky’s skill as a portraitist. Of Armenian origin, Gorky and his family moved to America when he was still a child, but this immigrant experience and the hardship that his family suffered early on never left him. The profundity of that sadness and uncertainty for the future comes across in Gorky’s portraits. Despite his skill as a portraitist, Gorky’s true talent lies in his abstract work. Rooms 10 and 11 are the exhibition’s highlight with every painting a visual spectacle full of frenzied energy.
The last room focuses on the sad end of Gorky’s life and the health difficulties he suffered leading up to his suicide. Understandably, the work in this room is sombre. The colours are dense and dark and the compositions take on a sinister mood reminiscent of a beautiful but desperate wasteland.
Overall, a fantastic show of an excellent artist.
The Tate Modern launches its spring season with an excellent show presenting a lifetime of work by one of the more underrated American painters, Arshile Gorky. Despite the confusing promotional materials that advertise Gorky’s portraits, the exhibition is a cornucopia of geometric design. Incorporating influences of several artistic movements, the majority of work is abstract with a focus on patterns and angles.
Gorky’s transformation from a pupil of others to a master with his own voice is clear. The initial rooms have hints of Cezanne, Picasso, Klee, and Picabia as the colours alternate between depth and translucency. Room 3 is the black and white palate cleanser before colour assault of room 4, where the exhibition really takes off as the scale of the work increases. This is where Gorky really hit his stride as an artist with his own vision of pale lemon yellows, bright oranges, and full reds.
Only one room (7) reflects Gorky’s skill as a portraitist. Of Armenian origin, Gorky and his family moved to America when he was still a child, but this immigrant experience and the hardship that his family suffered early on never left him. The profundity of that sadness and uncertainty for the future comes across in Gorky’s portraits. Despite his skill as a portraitist, Gorky’s true talent lies in his abstract work. Rooms 10 and 11 are the exhibition’s highlight with every painting a visual spectacle full of frenzied energy.
The last room focuses on the sad end of Gorky’s life and the health difficulties he suffered leading up to his suicide. Understandably, the work in this room is sombre. The colours are dense and dark and the compositions take on a sinister mood reminiscent of a beautiful but desperate wasteland.
Overall, a fantastic show of an excellent artist.
Tate Britain – Chris Ofili
Tate Britain – Chris Ofili (January 27 – May 16 2010)
5 out of 5
The Tate Britain has started the new year with an explosive show by former Turner Prize winner, Chris Ofili. The mid-career retrospective traces Ofili’s evolution from relying on shocking materials and provocative subject matter to spirituality and the subtle language of his latest paintings.
Interestingly, as modern art has moved on with new mediums based on technology and subject matters that continue to push the line of what is acceptable and what is art, using elephant dung in art no longer seems as outrageous as it did back in the early 1990s. Nevertheless, Ofili’s work hasn’t lost its power to inspire the viewer. Ofili’s work may draw influences of others in inconspicuous ways, but it is unmistakeably and uniquely his own. For example, his early use of small dots or beads of paint may hearken back to Australian aboriginal art, but Ofili makes that element his own. Similarly, the use of pop figure references and teenage glitter is not new, but it is imaginative in combination with the other elements of his work.
Halfway through the exhibition, the viewers are led through a dark hallway to cleanse the senses and prepare them for the visual onslaught that is room 3. In an enclosed dark space reminiscent of a place of worship, the Upper Room paintings stand out as vintage Chris Ofili.
The last two rooms of the exhibition are dedicated to Ofili’s work since he moved from London to Trinidad in 2005. Gone are the loud elements of his earlier works. No animal faeces. No glitter. No beads. Just fluid colour caressing larger than life canvasses. In abandoning all his previous tricks, Ofili lets the paint speak for itself. And what a fascinating tale it spins. I can’t wait to see what’s next in the storybook.
5 out of 5
The Tate Britain has started the new year with an explosive show by former Turner Prize winner, Chris Ofili. The mid-career retrospective traces Ofili’s evolution from relying on shocking materials and provocative subject matter to spirituality and the subtle language of his latest paintings.
Interestingly, as modern art has moved on with new mediums based on technology and subject matters that continue to push the line of what is acceptable and what is art, using elephant dung in art no longer seems as outrageous as it did back in the early 1990s. Nevertheless, Ofili’s work hasn’t lost its power to inspire the viewer. Ofili’s work may draw influences of others in inconspicuous ways, but it is unmistakeably and uniquely his own. For example, his early use of small dots or beads of paint may hearken back to Australian aboriginal art, but Ofili makes that element his own. Similarly, the use of pop figure references and teenage glitter is not new, but it is imaginative in combination with the other elements of his work.
Halfway through the exhibition, the viewers are led through a dark hallway to cleanse the senses and prepare them for the visual onslaught that is room 3. In an enclosed dark space reminiscent of a place of worship, the Upper Room paintings stand out as vintage Chris Ofili.
The last two rooms of the exhibition are dedicated to Ofili’s work since he moved from London to Trinidad in 2005. Gone are the loud elements of his earlier works. No animal faeces. No glitter. No beads. Just fluid colour caressing larger than life canvasses. In abandoning all his previous tricks, Ofili lets the paint speak for itself. And what a fascinating tale it spins. I can’t wait to see what’s next in the storybook.
Saatchi Gallery – The Empire Strikes Back: Indian Art Today
Saatchi Gallery – The Empire Strikes Back: Indian Art Today (January 29 – May 7 2010)
4 out of 5
After three excellent shows since moving to its new location near Sloane Square, the Saatchi Gallery turns its attention to the modern art of India. Like the other exhibitions, there is a mix of work – some excellent and awe-inspiring, some good, some questionable and some just plain devoid of emotion. Gallery 1’s rendering of some of Mahatma Gandhi’s words is an excellent, if oddly coloured, introduction to what the viewer will experience in the galleries to follow.
Gallery 2 continues to impress with a bindi-covered heart, amongst other works. And then, the viewer reaches Gallery 3 - solely dedicated to the whimsical, intricate, and fascinating work of Huma Bhabha. Other highlights include various taxidermy animals doing unexpected things in suitcases and pipes, sarcastic armies made out of metal and other objects, and sculptures made out of ordinary house objects.
The rest of the show contains several highlights. Schandra Singh’s and Jitish Kallat’s work is especially excellent as is the work of Ajit Chauhan and Bharti Kher. Despite its lack of subtlety, there is something to be said for the provocative and bold work of Rashid Rana. Offensive to some, but true to others, Rana’s work represents what the Saatchi Gallery is all about – that inextricable mix of beauty, insight, and shock.
Yet perhaps, what’s most interesting about the exhibition is coming to terms with what classifies Indian art or Indian artists as Indian. In today’s fluid world where borders matter less and less, influences from other cultures are everywhere, and where residencies, nationalities, allegiances, and names are changeable, one can become confused about what Indian art is and what it is not. But ultimately, that question doesn’t matter as much as the quality and aesthetic prowess of the art, both of which are in abundance in this exhibition.
After three excellent shows since moving to its new location near Sloane Square, the Saatchi Gallery turns its attention to the modern art of India. Like the other exhibitions, there is a mix of work – some excellent and awe-inspiring, some good, some questionable and some just plain devoid of emotion. Gallery 1’s rendering of some of Mahatma Gandhi’s words is an excellent, if oddly coloured, introduction to what the viewer will experience in the galleries to follow.
Gallery 2 continues to impress with a bindi-covered heart, amongst other works. And then, the viewer reaches Gallery 3 - solely dedicated to the whimsical, intricate, and fascinating work of Huma Bhabha. Other highlights include various taxidermy animals doing unexpected things in suitcases and pipes, sarcastic armies made out of metal and other objects, and sculptures made out of ordinary house objects.
The rest of the show contains several highlights. Schandra Singh’s and Jitish Kallat’s work is especially excellent as is the work of Ajit Chauhan and Bharti Kher. Despite its lack of subtlety, there is something to be said for the provocative and bold work of Rashid Rana. Offensive to some, but true to others, Rana’s work represents what the Saatchi Gallery is all about – that inextricable mix of beauty, insight, and shock.
Yet perhaps, what’s most interesting about the exhibition is coming to terms with what classifies Indian art or Indian artists as Indian. In today’s fluid world where borders matter less and less, influences from other cultures are everywhere, and where residencies, nationalities, allegiances, and names are changeable, one can become confused about what Indian art is and what it is not. But ultimately, that question doesn’t matter as much as the quality and aesthetic prowess of the art, both of which are in abundance in this exhibition.
Royal Academy of Art – The Real Van Gogh: The Artist and His Letters
Royal Academy of Art – The Real Van Gogh: The Artist and His Letters (January 23 – April 18 2010)
5 out of 5
The Real Van Gogh show is certainly the Hollywood blockbuster of this spring’s exhibitions in London. What the real surprise is, however, is just how good of a show it really is. Van Gogh is one of the artists whose work suffers badly from overexposure. But despite this, the real surprise of the exhibition is its power to still amaze. Each work is beautifully set in an atmosphere of deep colour walls that enhance the intensity of the paintings’ colours.
Thankfully, the exhibition doesn’t include some of the most overexposed images, as those are reserved for his museum in Amsterdam, and instead includes some equally as stunning but less known paintings. Their colours are stunning. The exhibition includes some fascinating letters that Van Gogh wrote to his brother, amongst others, which reveal his own insecurity about his talent and the direction of his work. What’s most interesting about the exhibition is that it incorporates Van Gogh’s early works, when he had decided that he wanted to be an artist but hadn’t quite found his voice. These first paintings are well executed but of average inspiration – they could be easily mistaken for ones done by any number of other artists. Yet the context of that early work really makes the viewer appreciate the uniqueness of Van Gogh’s latter paintings. We feel privileged to see the early steps of an artist and his evolution from pupil to master.
The letters and drawings that accompany his paintings add a nice element. Overall, the Royal Academy of Arts has presented another excellent show in a long-line of wonderful exhibitions. The only drawback is the inevitable crowds that such a high-quality show draws. Try to go early or on a weekday to retain some of the intimacy and awe of the work.
The Real Van Gogh show is certainly the Hollywood blockbuster of this spring’s exhibitions in London. What the real surprise is, however, is just how good of a show it really is. Van Gogh is one of the artists whose work suffers badly from overexposure. But despite this, the real surprise of the exhibition is its power to still amaze. Each work is beautifully set in an atmosphere of deep colour walls that enhance the intensity of the paintings’ colours.
Thankfully, the exhibition doesn’t include some of the most overexposed images, as those are reserved for his museum in Amsterdam, and instead includes some equally as stunning but less known paintings. Their colours are stunning. The exhibition includes some fascinating letters that Van Gogh wrote to his brother, amongst others, which reveal his own insecurity about his talent and the direction of his work. What’s most interesting about the exhibition is that it incorporates Van Gogh’s early works, when he had decided that he wanted to be an artist but hadn’t quite found his voice. These first paintings are well executed but of average inspiration – they could be easily mistaken for ones done by any number of other artists. Yet the context of that early work really makes the viewer appreciate the uniqueness of Van Gogh’s latter paintings. We feel privileged to see the early steps of an artist and his evolution from pupil to master.
The letters and drawings that accompany his paintings add a nice element. Overall, the Royal Academy of Arts has presented another excellent show in a long-line of wonderful exhibitions. The only drawback is the inevitable crowds that such a high-quality show draws. Try to go early or on a weekday to retain some of the intimacy and awe of the work.
Estorick Collection – On the Move Visualising Action
Estorick Collection – On the Move Visualising Action (January 13 – April 18 2010)
5 out of 5
A gem of an art gallery focused on modern Italian art, the Estorick Collection can do no wrong. The collection is set in a beautiful house with whimsical furniture and includes an excellent permanent collection that include the likes of Modigliani and a personal favourite Zoran Music. The current show is no exception to this quality offering and explores movement in art. Presenting a mix of photography, paintings, sculpture and other objects, the exhibition includes some wonderful works.
The photography of the late 1800s is especially strong. The exhibition highlights the fascinating photo series by Eadweard Muybridge who focused on movement in people and animals. Despite being done in 1887, the photographs do not feel dated and still exude sensuality and fascination. It’s a joy to linger over these relatively small scale photographic series seeing how movement is captured sequentially. We then move on to the work of Etienne-Jules Marey who achieves a magical and dreamlike effect of motion through overlapping images. The blurring of movement works to excellent effect. A good showing by modern artists, include some quite wonderful photos by Idris Khan. But the spectacular work of Thomas Eakins takes the crown with his athlete series that achieve a stunning visual effect and look like x-rays of human movement.
Overall a great show that is well complemented by the excellent permanent collection on display. The Estorick Collection is definitely one of the more charming venues for art lovers in London.
5 out of 5
A gem of an art gallery focused on modern Italian art, the Estorick Collection can do no wrong. The collection is set in a beautiful house with whimsical furniture and includes an excellent permanent collection that include the likes of Modigliani and a personal favourite Zoran Music. The current show is no exception to this quality offering and explores movement in art. Presenting a mix of photography, paintings, sculpture and other objects, the exhibition includes some wonderful works.
The photography of the late 1800s is especially strong. The exhibition highlights the fascinating photo series by Eadweard Muybridge who focused on movement in people and animals. Despite being done in 1887, the photographs do not feel dated and still exude sensuality and fascination. It’s a joy to linger over these relatively small scale photographic series seeing how movement is captured sequentially. We then move on to the work of Etienne-Jules Marey who achieves a magical and dreamlike effect of motion through overlapping images. The blurring of movement works to excellent effect. A good showing by modern artists, include some quite wonderful photos by Idris Khan. But the spectacular work of Thomas Eakins takes the crown with his athlete series that achieve a stunning visual effect and look like x-rays of human movement.
Overall a great show that is well complemented by the excellent permanent collection on display. The Estorick Collection is definitely one of the more charming venues for art lovers in London.
Friday 1 January 2010
Top Art Shows of 2009
1. Walking In My Mind, Hayward Gallery
2. Garden & Cosmos - The Royal Paintings of Jodhpur, British Museum
3. The Revolution Continues: New Chinese Art, Saatchi Gallery
4. Unveiled: New Art From The Middle East, Saatchi Gallery
5. Annette Messager: The Messengers, Hayward Gallery
A special mention goes out to the Museum of Everything which temporarily graced London with its amazing work. What a revalation and inspiration
Check out some other opinions on the top shows in London during 2009 at http://www.timeout.com/london/art/features/9336/Best_art_exhibitions_of_the_year_2009.html
2. Garden & Cosmos - The Royal Paintings of Jodhpur, British Museum
3. The Revolution Continues: New Chinese Art, Saatchi Gallery
4. Unveiled: New Art From The Middle East, Saatchi Gallery
5. Annette Messager: The Messengers, Hayward Gallery
A special mention goes out to the Museum of Everything which temporarily graced London with its amazing work. What a revalation and inspiration
Check out some other opinions on the top shows in London during 2009 at http://www.timeout.com/london/art/features/9336/Best_art_exhibitions_of_the_year_2009.html
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