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- 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.
Continue reading... - 17 September: Kerry James Marshall review – astonishing visions of black America, from bar-room boozers to families in space - Exhibitions | The Guardian
Royal Academy, London
Kidnappings, enslavement, cops and squad cars, golfers, picnics, croquet-players, interstellar travellers … the US artist’s largest ever European show takes in an extraordinary range of experience in a breathtaking showBiting, funny, astonishing, difficult, surprising, erudite and hugely ambitious, Kerry James Marshall’s The Histories is the largest show of the black American’s work ever held in Europe. Its effects are cumulative. The Histories charts the 69-year-old painter’s intellectual as well as practical development, his themes, his switches of media and of focus and attention. Everything is here for a reason.
How engaging Marshall’s art is, from the first. He takes us from the bar to the bedroom, to the Middle Passage, from the studio to the academy, from the beauty parlour to the dancehall. He paints scenes of abduction and enslavement in which both victims and perpetrators are African and of a black cop sitting on the hood of his squad car – I love the jagged stylised flare of the streetlights in the background. Marshall knows that everything is contended and complex and that there are no innocent images. Pustules of paint, like litter between the blocks, decorate the spaces between the housing projects, like flowers blooming in a riot. On an idyllic day in the park, black folks picnic, practise a golf swing, play croquet, water-ski on the lake and listen to the Temptations, the lyrics floating up like ticker tape from radios on a sunny afternoon. It is an absurd, impossible image. The humour in Marshall’s art is not to be underestimated. In a series devoted to the Middle Passage a Baptist flounders. There are water slides and swimming pools, ocean liners and toy boats and a woman about to dive from a board. The water is filled with drowned maps of Africa and carefully rendered fish, and there’s an exhortation to plunge.
Continue reading... - 17 September: Segregation, serenades and social gatherings: A slice of Black life in Texas – in pictures - Exhibitions | The Guardian
A new exhibition showcasing African American photography in rural and urban areas of Texas underscores the role of the community photographer in documenting local life and culture
Continue reading... - 17 September: Marie Antoinette Style review: Forget the seedy sex addict slurs – and meet the real classy, sassy queen - Exhibitions | The Guardian
V&A, London
From smallpox headgear to fairytale gowns and self-modelled ‘breast cups’, this lavish show reveals a very different person from the one depicted in the libellous fantasies of the French revolutionary pressMarie Antoinette had no luck. When fireworks were lit in Paris to celebrate the Austrian princess’s marriage to the dauphin of France, a conflagration ensued, the crowd stampeded and more than 130 people were killed – although rumour put the number much higher. From the start, it seemed she was destined to be hated by the French people and blamed for sufferings she didn’t even know existed.
By the time the French Revolution had begun in 1789, Antoinette was demonised not only as a lavish spender but a rampant sex addict who cuckolded the king. Illustrations from 1790s pornographic booklets in the V&A’s epic show graphically depict her making love to a guard and to one of her ladies in waiting. By the time you get to these libellous prints, you can’t help feeling their bullying nastiness. For you have got to know her. This show is a superb lesson in how history can be understood through images and objects. It brings you as close as it’s possible to get to the real Marie Antoinette.
Continue reading... - 16 September: Derek Purnell obituary - Exhibitions | The Guardian
Dancer and later chief executive of Birmingham Royal Ballet who took leading roles at the Wallace Collection and then Strawberry Hill House in London
Derek Purnell, who has died aged 71 of a brain tumour, had a career focused on the arts and heritage encompassing both performance and administration. He had a true sense of purpose and the ability to inspire his colleagues, and always took an interest in their work.
In 1991 he took up the position of chief executive of Birmingham Royal Ballet (BRB), working alongside Peter Wright, the artistic director, and from 1995 with David Bintley. In a tribute, Bintley noted that the decade he worked alongside Purnell at the BRB was “the happiest and most fulfilling of my professional life”. Having danced with Sadler’s Wells Royal Ballet, the touring wing of the Royal Ballet, for a decade from 1973, and having become a dancers’ union representative, when Purnell retired from performing he trained in arts administration at City, University of London.
Continue reading... - 15 September: ‘Art became a means of survival’: the Gaza Biennale lands in New York City - Exhibitions | The Guardian
Recess, Brooklyn
A traveling exhibition of work from Palestinian artists aims to provide visibility to those whose lives have been devastated by the ongoing war
Artists will go on creating, even under the most extreme and inhumane of conditions. This truism is part of the message and the power of the Gaza Biennale, which is currently working to exhibit the art of dozens of Palestinians around the world – including in New York City, where the abolitionist arts non-profit Recess hosts an exhibition of work from more than 25 of these artists.
“They are artists, they need to create art,” said the Biennale organizers, who requested to be identified as the Forbidden Museum. “We need to help artists stand up for themselves with their skills. Just because you are an artist in the middle of a genocide doesn’t mean you don’t have anything to do.”
Continue reading... - 15 September: Theatre Picasso review – Pablo tears reality apart in a riotous celebration of his raging genius - Exhibitions | The Guardian
Tate Modern, London
From filthy kissing to bullfights, fascists and drag acts, the artist who shattered visual conventions is thrillingly, forcefully alive in this illuminating showThe Acrobat sums up the effect Pablo Picasso had on art in his 91 years on earth. In this 1930 painting, lent by the Musée Picasso in Paris, a body with no defined gender contorts into an insoluble puzzle, a leg sprouting above its anus, the head, eyes closed, bulging where genitals might be, the other leg standing on the ground balanced by an arm whose hand functions as a foot while the other arm, fist clenched, bends like a tail. In just this way, Picasso turned art inside out and upside down, twisted it unrecognisably, yet made it all the more compelling, human and passionate.
Born into a Europe of realistic sculptures and perspective pictures, he blew up those conventions, put them back together, then smashed them again, and a few times more. It’s hard not to be awed by his achievements, his turmoil of creative energy, the scale of his artistic breakthroughs, although Tate Modern tries its best. Theatre Picasso starts with coughing noises and references to gender and artistic borrowing. But those concerns go nowhere, vanishing in what becomes – almost despite itself – a riotous celebration of his genius.
Continue reading... - 12 September: Tate and National galleries should share more artworks - Exhibitions | The Guardian
Great art | Jeremy Corbyn and Zarah Sultana’s party | New Labour | Lord Mandelson
The Tate has, over the years, passed a tiny group of paintings to the National when their world greatness became apparent (National Gallery accused of risking ‘bad blood’ with Tate over 20th-century art, 10 September). This was stopped in 2000, without any public discussion (despite my attempts to generate one). It should now be revived as it saves public money, avoids duplication, honours the Tate by recognising its acumen and leaves it free to find the great, lasting paintings of today.
Julian Spalding
Former director, Sheffield, Manchester and Glasgow art galleries• I suggest that Jeremy Corbyn and Zarah Sultana’s new party (Editorial, 8 September) is called Real Labour. This name neatly sums up what I think they stand for, and will resonate with supporters. Then, as Starmer, Reeves and their party fade away, the party can gradually drop the “Real”.
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David Reynolds
Diss, Norfolk - 12 September: The dotty genius of Seurat and a song and dance about Picasso – the week in art - Exhibitions | The Guardian
Tate Modern reframes its Picassos in a theatrical light, there’s a hands-on utopia in Gateshead and the Cerne chalk giant gets a colourful new neighbour – all in your weekly dispatch
Theatre Picasso
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The Tate collection of Picasso’s revolutionary art is reimagined through a drama-conscious lens.
• Tate Modern, London, 17 September to 12 April - 10 September: From woodcuts to Colin Firth: how Jane Austen’s stories have been pictured - Exhibitions | The Guardian
Bath museum shows how author’s illustrators and adapters have portrayed her characters through history
For the 21st-century Jane Austen fan, the images of Colin Firth’s Mr Darcy in the beloved BBC series Pride and Prejudice or Anya Taylor-Joy’s big-screen portrayal of Emma may be the first to leap to mind.
But an exhibition opening in Bath celebrates the varied ways illustrators of Austen’s work and adapters of her novels have depicted some of her most cherished characters.
Continue reading... - 10 September: Sit, swim, sleep, cycle, skate: the sublime poetry of the everyday – in pictures - Exhibitions | The Guardian
Floating teens at summer camp, sleeping students in Georgia, rollerskaters at Venice Beach … Mark Steinmetz’s stunning black and white shots capture kids across America
Continue reading... - 10 September: Show me the nipple-baring Ziggy knitwear! A tour inside David Bowie’s mind-boggling 90,000-item archive - Exhibitions | The Guardian
From the plans for a Major Tom movie to the Aladdin Sane mask and some wild ‘artworks’ sent by fans, this Bowie treasure trove is now open to the public – and it’s the freakiest show!
In the 1990s, David Bowie started assembling an archive of his own career in earnest. There seems something telling about the timing. It happened on the heels of 1990’s Sound+Vision tour, when Bowie grandly announced he was performing his hits live for the final time – a resolution that lasted all of two years. It also followed the bumpy saga of Tin Machine, the short-lived hard rock band that Bowie insisted he was simply a member of, rather than the star attraction, and whose work has thus far escaped the extensive campaign of posthumous archival Bowie releases. These include more than 25 albums and box sets in the nine years since his death, with another – the 18-piece collection I Can’t Give Everything Away – due this Friday.
Having attempted to escape the weight of his past with decidedly mixed results, Bowie seems to have resolved instead to come to some kind of accommodation with it. “I think you’re absolutely right,” says Madeleine Haddon, lead curator at the V&A in London, which is about to open the David Bowie Centre at its East Storehouse, drawn from his archive. “And that capacity for self-reflection was just tremendous.”
Continue reading... - 9 September: São Paulo biennale review – chanting trees and harmonal humming create a cacophony of art - Exhibitions | The Guardian
Ciccillo Matarazzo Pavilion, São Paulo
Everywhere you turn, there’s an installation making a total racket – but this overwhelming multi-artist sensory blowout comes to life when the images speak for themselvesMeditation and spiritual connection may be OK in small doses, but after three floors and 30,000 sq metres of darkened rooms, theatrical installations, altars and votive sculpture, more sound work than I’ve ever encountered in a single show, and a general encouragement to be moved, mesmerised and in touch with my spiritual side, my ears are ringing and I feel quite on edge.
The São Paulo biennale, the second oldest art exhibition of its type in the world, takes the title Not All Travellers Walk Roads for its 36th edition, a line, which, with some irony, is from Of Calm and Silence, a poem by the Brazilian writer Conceição Evaristo. In Cameroonian curator Bonaventure Soh Bejeng Ndikung’s show of 120 artists, this translates as imagining alternative forms of consciousness, invariably looking to nature and non-western belief systems.
Continue reading... - 9 September: School, self-image and rebellion: what it feels like for a girl – in pictures - Exhibitions | The Guardian
Nancy Honey’s candid portraits capture girls between 11 and 14, when their bodies start to change and they begin challenging accepted codes of behaviour
Continue reading... - 6 September: Why the legacy of East Germany’s prefab housing blocks is more relevant than ever - Exhibitions | The Guardian
Once considered progressive, then later derided, a new exhibition is exploring the developments’ place as part of a collective experience
Communist East Germany’s high-rise prefab residential blocks and their political and cultural impact in what was one of the biggest social housing experiments in history is the focus of a new art exhibition, in which the unspoken challenges of today’s housing crisis loom large.
Wohnkomplex (living complex) Art and Life in Prefabs explores the legacy of the collective experience of millions of East Germans, as well as serving as a poignant reminder that the “housing question”, whether under dictatorship or democracy, is far from being solved.
Continue reading... - 5 September: Rest assured, the Bayeux tapestry will be transported here safely | Letters - Exhibitions | The Guardian
British Museum director Nicholas Cullinan describes the intricate planning that has been taking place. But Mark Vaughan thinks an animated display would be better
For the first time in almost 1,000 years, the Bayeux tapestry will come to Britain. In 2026, it will be displayed at the British Museum as part of a landmark cultural partnership with France, while the Bayeux Tapestry Museum in Normandy is closed during the construction of a landmark new building. In return, some of the UK’s greatest treasures – including the Lewis chessmen, the Sutton Hoo helmet, the Mold gold cape, and the Dunaverney flesh hook – will travel to Normandy.
Understandably, there has been interest in how these priceless items will be moved and concerns about their safety (‘La tapisserie, c’est moi’: Macron accused of putting politics first in Bayeux tapestry loan, 30 August). I want to be clear about the detailed work under way in both countries. Since a partnership agreement was signed earlier this summer, experts on both sides of the Channel have been carrying out rigorous planning and due diligence to ensure the safe transport and conservation of the tapestry. Colleagues in France are preparing for its careful removal before work begins on their new museum, and intricate plans are being made for its journey to London. This expert-led collaboration – indeed, supported for 12 years by one of our leading specialists on the Bayeux scientific committee – will guide every stage, including a full dry run of the journey.
Continue reading... - 5 September: David Bowie’s final project was 18th century musical, new V&A exhibition reveals - Exhibitions | The Guardian
A forthcoming display of the singer’s archive includes sticky notes detailing a theatrical work called The Spectator, about a petty thief and high-class gangs in London
David Bowie’s final project prior to his death in 2016 was an 18th-century musical called The Spectator, a forthcoming extensive exhibition of Bowie’s archive at the V&A East Storehouse has revealed.
The work was based around a daily newspaper of the same name that ran between 1711 and 1712, documenting the mores of society in London. Bowie’s notes reveal that he considered the publicly beloved petty thief Jack Sheppard as a potential lead character, as well as Jonathan Wild, the vigilante who was responsible for Sheppard being arrested and executed. He also focused on the Mohocks, a notorious gang of high-class young men who would get drunk and attack people on the streets.
Continue reading... - 5 September: Prized paintings, unburied treasures and murderous Millais – the week in art - Exhibitions | The Guardian
The John Moores prize names its next stars, Renaissance booty is uncovered in Bath and a lover’s brothers plan a beheading – all in your weekly dispatch
John Moores painting prize
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Davina Jackson, Katy Shepherd and Joanna Whittle are among the painters shortlisted for this prize that was once won by a young David Hockney
Walker Art Gallery, Liverpool from Saturday until 1 March 2026
Originally posted 2011-02-25 17:28:49. Republished by Blog Post Promoter
