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- 2 October: Made in Ancient Egypt review: a two-day Pyramid bender and the BC Leonardo - Exhibitions | The Guardian
The Fitzwilliam Museum, Cambridge
Revealing tantalising new details about the real lives of artists and craftspeople, this show takes you beyond the death mythology and into the realm of magicWho knew there were famous artists in ancient Egypt with unique styles, depicting what they saw and felt? Well, most of the time there weren’t, although this exhibition does introduce you to one. From the Old Kingdom to the time of Cleopatra, the ancient Egyptians expected very much the same things of their artists, in a style that barely changed. An extraordinary limestone stela, or engraved slab, that was lent to the Fitzwilliam by the Louvre shows how young Egyptian artists were taught to see in the “correct” way, to make nature conform to the official style. A square grid demonstrates how to calculate proportions to render, for instance, a cat in a perfectly still profile, like a little feline god, an abstraction that was to be repeated for millennia.
Yet Made in Ancient Egypt strives to take you beyond the sublime formal facade to glimpse the artists or, as it calls them more cautiously, “makers” behind the golden coffin portraits and pharaohs’ statues. “Who built the seven gates of Thebes?” asked Bertolt Brecht in his poem A Worker Reads History. Here they are, the metalworkers, woodworkers, weavers. In a wooden model made about 4,000 years ago, female workers seated on the ground weave on a loom while others stand spinning thread. You can see a fine example of such women’s handiwork, a white dress made 4,500 years ago. It hangs up, spooky as hell.
Continue reading... - 2 October: Country diary: Just how low can a stone circle go? | Sara Hudston - Exhibitions | The Guardian
Withypool, Somerset: This is a landscape where things can lie hidden – not least a bronze-age structure that is more trip hazard than landmark
Seen from the barrow at the top of Withypool Hill, the common stretches away south like a lion’s back, tawny grass glinting as the land dips and then rises to the open skyline. Apart from a bridle path worn through like a rubbed seam, and a distant, narrow thread of road, the ground appears empty. But it’s not – we’re only a few hundred metres from a bronze‑age stone circle.
Forget the mighty 4-metre-tall megaliths of Stonehenge, this modest, ground-hugging construction could almost be mistaken for a series of natural stony outcrops. The 29 miniliths are less than knee-high, set earthfast among wiry mats of heather and whortleberry, more trip hazard than landmark. Absent from early maps, the monument wasn’t rediscovered until 1898, when a rider, led astray in the mist, stumbled over one of the markers.
Continue reading... - 1 October: ‘Different lives have different resonances’: Naeem Mohaiemen explores Kent State shootings’ place in US history - Exhibitions | The Guardian
Artist’s installation looks into two 1970 shootings that symbolise cultural divides that still shape US politics
The Kent State shootings – when four college students were shot dead by the National Guard during a Vietnam War protest in May 1970 – is seen as a seminal moment in modern US history. The iconic photograph of a young woman screaming as she kneels over the body of a peer came to symbolise the political and cultural divides that still shape US politics, while the event was immortalised in the song Ohio by Neil Young.
But just 10 days after Kent State, another campus shooting – this time of two black students by the police at Jackson State – went relatively unnoticed. It’s a juxtaposition the artist Naeem Mohaiemen brings to bear in his new film installation, Through a Mirror Darkly, at London’s Albany House.
Continue reading... - 1 October: Italy art police seize 21 suspected fake works from Salvador Dalí show - Exhibitions | The Guardian
Squad confiscates works from Parma exhibition after consulting Gala-Salvador Dalí Foundation in Catalonia
Italy’s art squad on Tuesday seized 21 artworks from a major exhibition in Parma dedicated to works by Salvador Dalí on suspicion they were falsely attributed to the Spanish surrealist.
The show, entitled Dalí, Between Art and Myth, had only been open for a few days at Palazzo Tarasconi before police confiscated the allegedly forged works, including drawings, tapestries and engravings.
Continue reading... - 30 September: ‘Out on a damn limb’: the daredevil photography of Lee Miller – in pictures - Exhibitions | The Guardian
A fearless war photographer, a peerless surrealist, a chronicler of Egypt and Syria … a new exhibition at Tate Britain explores how Lee Miller became one of the most urgent voices of 20th-century art
Continue reading... - 29 September: Dress the part: London exhibition celebrates 60 years of film and TV period costumes - Exhibitions | The Guardian
From Colin Firth’s wet shirt in Pride and Prejudice to Meryl Streep’s safari gear in Out of Africa, Cosprop’s outfits achieved cinematic realism
When the costume designer John Bright founded the period costume house Cosprop in 1965, it was out of a desire to give the clothes seen in film and TV “a greater realism” than viewers had been used to previously. “I decided that if we made the stock as real as possible, it would be universal,” Bright says. “The truth is the truth for all times.”
Over the intervening 60 years, that relatively simple mission led to the creation of some of the most notable costumes of all time: the Regency-era shirt that, once wet, turned Colin Firth into an instant heart-throb in 1995’s Pride and Prejudice; the safari gear worn by Meryl Streep in 1985’s Out of Africa, which ended up inspiring countless high-fashion runways; Johnny Depp’s dishevelled 1720s Pirates of the Caribbean suit, so artfully soiled that you can practically smell it through the screen.
Continue reading... - 26 September: Artists face the jury, the case for Hodgkin and multi-player politics – the week in art - Exhibitions | The Guardian
This year’s Turner prize contenders, a colourist’s triumphs and immersive gaming in the gallery – all in your weekly dispatch
Turner prize
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Nnena Kalu, Rene Matić, Mohammed Sami and Zadie Xa strut their stuff and compete for the now time-hallowed contemporary art award.
• Cartwright Hall Art Gallery, Bradford, from 27 September until 22 February - 26 September: ‘It’s important to have it here’: Archie Moore’s astonishing Venice Biennale-winning artwork comes home to Brisbane - Exhibitions | The Guardian
The Bigambul-Kamilaroi artist’s monumental installation, featuring a family tree stretching 65,000 years and a memorial to Indigenous deaths in custody, opens in his home state after making history overseas
WARNING: Contains distressing and offensive content
In a darkened room, I squint to read the blurred typeface of a newspaper article that makes my stomach lurch.
It tells of a station owner who set a trap for a group of Aboriginal people by filling a cannon with powder and broken bottles and leaving it near a bullock carcass.
Continue reading... - 25 September: Warhol, Haring, Basquiat: exhibition remembers pivotal 80s New York artists - Exhibitions | The Guardian
A vibrant period for art in the city is celebrated in a new exhibition that goes from the rise of celebrity to hyper-capitalism to the devastation of Aids
With Downtown/Uptown: New York in the Eighties, gallery Lévy Gorvy Dayan aims to make the case for the 1980s as a vital – and currently relevant – decade of artistic output. The blockbuster show has brought together a who’s who of 80s art, with major pieces from Andy Warhol, Jean-Michel Basquiat, Francesco Clemente, Jeff Koons, Keith Haring, Cindy Sherman, and many others.
The goal for Downtown/Uptown is quite simple: to showcase the decade’s best art for new generations. “I was thinking about what art was pivotal to the moment,” said Brett Gorvy, show co-curator. “And also what over time has become pivotal. We’ve been lucky to be able to access the greatest paintings of so many of these artists.”
Continue reading... - 25 September: Hoi Polloi review: a mind-boggling display of technical brilliance – with bulbous buttocks a go-go - Exhibitions | The Guardian
The Brown Collection, London
This gloriously eccentric personal museum by painter and former Turner nominee Glenn Brown is a mesmerising delight as it cheekily imitates the nearby Wallace CollectionYou will find The Brown Collection in a Marylebone mews not far from the Wallace Collection. With its name and location, painter Glenn Brown cheekily suggests that this personal museum of the art he collects, plus his own creations, is on a par with London’s famous gallery of rococo paintings and ancien regime clocks. The joke works best on your phone map where you can see how close they are.
The current exhibition Hoi Polloi is curated by Brown and supposedly looks at representations of “the ordinary man” in art. It’s a satirical nudge at claims to social worthiness by public galleries for there is zero purpose or theme here, just a mixing and merging of the curious and eclectic in fascinating juxtapositions over four floors of a luxuriously restored building that even has a gothic cellar reminiscent of the one in the Sir John Soane’s Museum. Here you can be spooked by one of Gillian Wearing’s lifelike masks.
Continue reading... - 25 September: ‘Prince of the rocks’: JMW Turner’s gorge paintings go on show in Bristol - Exhibitions | The Guardian
Exhibition featuring fragile and rarely seen watercolours explores artist’s jaunts in and around Avon Gorge
He was so keen on clambering around the craggy cliffs of the Avon Gorge as a teenager that he was nicknamed “prince of the rocks”.
An exhibition featuring rarely seen JMW Turner watercolours inspired by his nimble explorations of the gorge is opening at Bristol Museum & Art Gallery. They are so fragile that they are rarely brought out of careful storage and may not be seen again for a while.
Continue reading... - 23 September: Do you speak Sylheti? Tamajaght? Klingon? Inside the Festival for Endangered Languages - Exhibitions | The Guardian
Every two weeks, a language is lost – and by the end of the century, half of the world’s 7,000 tongues could have vanished. We meet the artist using eyeliner and chokeberries to rescue everything from Ogham to Arablish
In his studio, Sam Winston appears less artist, more linguistic alchemist. He is experimenting with manufacturing inks out of tobacco from Marlboro cigarettes, the juice of Belarusian chokeberries imported in a 100g packet small enough to make it past customs and a strange brew of kohl eyeliner from the Middle East and galena – the mineral form of lead sulfide – from Wales.
The coloured substances are used to conjure words on to giant canvas flags that will soon hang from the ceiling of London’s Barbican Centre – connecting a group of poets’ native languages with materials from their native landscapes. The quintet speak marginal or at-risk languages covering five continents, and their newly commissioned poems all speak to their sense of home.
Continue reading... - 23 September: Can We Stop Killing Each Other? review – a violence-themed show that’s about as dangerous as a garden centre - Exhibitions | The Guardian
Sainsbury Centre, Norwich
This exhibition asks whether art can diminish the human capacity for violence – but you might want to throttle someone after seeing this nonsenseCollaborating with a fragrance company, the Sainsbury Centre has developed a scent designed to calm and induce a mood of peace. You can sample it in a “multi-sensory reflective space” created to display a Monet landscape lent by the National Gallery, one part of a constellation of exhibitions and events centred around the question: Can We Stop Killing Each Other? But by this point the only question I was asking is, why did I fall for it and make the trip to this glass house on the University of East Anglia campus?
Jago Cooper, its director, is full of bright ideas. He’s set out to inject energy into the home of the Robert and Lisa Sainsbury Collection with such wheezes as declaring all its artworks to be “alive” – and staging shows around Big Questions of Our Time. Maybe this particular question is too big, but I think if it had been broken down and some logical clarity applied there might have been something to say – instead of saying nothing, which is what this windy absence does.
Continue reading... - 22 September: ‘My paintings don’t fit the narrative’: Kerry James Marshall on why he’s depicting black enslavers - Exhibitions | The Guardian
He is arguably America’s greatest living painter, elevating everyday black life to the level of epic, jaw-dropping masterpieces. Now, for his biggest European show, the artist talks us through his disturbing new works
History weighs on Kerry James Marshall, though not all that heavily. When he talks about the hefty subjects of his art – from slavery to civil rights – he does so with a disarming, disquieting lightness. Maybe that’s because at almost 70 years old, and at the peak of his popularity, he’s seen it all.
Marshall grew up in Birmingham, Alabama, just a few blocks away from where the 16th Street Baptist Church bombing, a white supremacist attack that killed four young black girls, took place in 1963. When his family moved to Los Angeles, they ended up right in the middle of the 1965 Watts riots, a six-day uprising fuelled by growing racial tension in the poorest part of the city.
Continue reading... - 22 September: Records of deadly 1934 pit explosion in Wrexham to be displayed near site - Exhibitions | The Guardian
Documents include letters calling for recovery of bodies and a falsified safety log that was part of a cover-up
Poignant records relating to a colliery disaster in the 1930s that lay unseen for decades at the National Archives are being put on display close to the site of the mine in north Wales.
Among the documents at the west London archive are petitions and emotional letters calling for the bodies trapped in the underground explosion at the pit in Gresford to be recovered. Despite the heartfelt entreaties, the vast majority remain there.
Continue reading... - 19 September: Have the Tate galleries lost their way? There’s no accounting for taste | Letters - Exhibitions | The Guardian
Readers respond to Jonathan Jones’s view that the chain of galleries is losing its identity as more dynamic rivals flourish
The analysis by Jonathan Jones of what’s gone wrong at Tate was spot-on (Shrinking audiences, a cash crisis and rivals on the rise: what’s gone wrong at Tate?, 12 September). All the truly memorable exhibitions we have seen this year were in the National Gallery, National Portrait Gallery, the Wallace Collection and the Royal Academy. Frankly, the Tates have not had a single show that excited us since Peter Doig (2008), Lynette Yiadom‑Boakye (2020), Frida Kahlo (2005), and Richard Deacon and El Anatsui in 2016.
The universally loved, wondrous art of painting is eschewed in favour of performance nonsense, boring videos and hideous installations.
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Ann Eastman
London - 19 September: Psycho shocks, an American superstar and Marie Antoinette’s finest fits – the week in art - Exhibitions | The Guardian
Kerry James Marshall unveils a triumphant vision of Black America, the executed queen of style gets her own show, and Hitchcock puts the knife in – all in your weekly dispatch
Kerry James Marshall: The Histories
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America’s superstar painter shows his carnivalesque pictures which make Black people the triumphant heroes of art history.
• Royal Academy, London, 20 September until 18 January - 18 September: Postures: Jean Rhys in the Modern World review – sex, squalor and jungle sweat for an eternal outsider - Exhibitions | The Guardian
Michael Werner Gallery, London
Artists as varied as Sarah Lucas, Gwen John and Georg Baselitz are called upon by critic-curator Hilton Als to chime with the writer of Wide Sargasso SeaJean Rhys was a perpetual outsider. Born Welsh and Creole into largely black Dominican society in 1890, she was out of place everywhere – too foreign for Europe, too Caribbean for Britain, too white for Dominica, and much too female to be taken seriously as a writer for most of her lifetime.
But her literary influence continues to grow and resonate, especially with American critic and curator Hilton Als. His group show is a heady, passionate, experimental love letter to Jean Rhys – to her literature, her in-betweenness, her life of unbound creativity in a postcolonial world – in the vein of his previous exhibitions-as-portraits of Joan Didion and James Baldwin.
Continue reading... - 18 September: A walk in the park! The exhibition set in the great outdoors – in pictures - Exhibitions | The Guardian
Set within the grandeur of Dalkeith Palace and its grounds, 17 leading photographers create work that responds to nature – including beaming family members’ faces on to trees!
Continue reading... - 17 September: ‘A sense of self and self-worth’: Deborah Willis on the importance of Black photography - Exhibitions | The Guardian
The artist and curator of photography talks about her relationship to the work of Black pioneers of photography and the influence of her 2000 book
When Dr Deborah Willis was an undergrad student at the Philadelphia College of Art, she asked the question that informed her work for years to follow: “Where are all the Black photographers?”
From photos by Gordon Parks in Time magazine to Black image-makers capturing daily life in Ebony and Jet magazines – she knew that Black photographers, like her father, were making their impact on the world. Growing up, her father was an amateur photographer, and her father’s cousin owned a photo studio, and seeing them photograph people as a child created a desire in her to become an image-maker.
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Originally posted 2011-02-25 17:28:49. Republished by Blog Post Promoter
