Exhibitions Newsfeed

  • 17 May: Judy Chicago’s illuminated epic, Elton John’s best shots and an earshredding blast – the week in art - Exhibitions | The Guardian

    The manuscript behind the US feminist’s monumental Dinner Party is finally published, Elton’s photography obsession returns and some woodcuts warn of disaster – all in your weekly dispatch

    Judy Chicago: Revelations
    An illuminated manuscript that Chicago started in the 1970s and is only now being published reveals the thinking behind her renowned work The Dinner Party.
    Serpentine North, London, 23 May to 1 September

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  • 16 May: Bowled over: Photo London x Nikon best emerging photographers – in pictures - Exhibitions | The Guardian

    From an AI that ‘creates’ family photos to images printed on glass – and then broken – these artists nominated for this year’s prize use radical methods to achieve groundbreaking results

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  • 15 May: ‘Otherworldly’: spiked clay sculpture by unknown Mexican ceramicist wins Loewe Foundation craft prize - Exhibitions | The Guardian

    Starry awards ceremony honours Andrés Anza as artisans notice increased interest in their work

    On Tuesday night in Paris, a front row of Pharrell Williams, designers Rick Owens and Michèle Lamy, and Delphine Arnault, chief executive of Christian Dior, gave a standing ovation to a slightly dazed-looking young Mexican, an unknown ceramicist called Andrés Anza.

    The sight of some of the most influential names in fashion applauding a craftsperson was an apt finale to the award ceremony of this year’s Loewe Foundation craft prize.

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  • 14 May: Now You See Us: Women Artists in Britain review – this changes everything - Exhibitions | The Guardian

    Tate Britain, London
    This tremendous show highlights so many unjustly forgotten, belittled and misattributed works, from 15th century miniatures to Georgian thrillers, Victorian innovators and modern abstractors. What a seismic reckoning

    Not many exhibitions turn the story of Britain and its art upside down. But this huge archaeological dig into the nation’s cultural past, from 1520 to 1920, does precisely that. It retrieves so many unjustly forgotten female artists, so many neglected works, far more than can be mentioned in a review – and all without rhetoric. Instead, its wall texts are factual and informative, simply amassing a vast amount of evidence. Now we see them.

    It starts with a bang. Artemisia Gentileschi in her Self-Portrait as the Allegory of Painting lunges forward, eyes on the prize, utterly absorbed in her work as she reaches out a bared arm to add a splash of paint to the canvas she fiercely works on. With her jet black hair, black eyebrows, green dress and filthy painting hand, she’s a formidable presence. Except she is not alone. Not any more.

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  • 13 May: Magdalene Odundo review – quietly devastating defiance in an English stately home - Exhibitions | The Guardian

    Houghton Hall, Norfolk
    Ceramics by Odundo at this Palladian mansion sit seamlessly yet purposefully alongside existing pieces, symbols of remembrance and the venue’s legacy of slavery

    Standing proudly in the middle of a room of 18th- and 19th-century English heritage portrait paintings at Houghton Hall is a burnished terracotta vessel. The work, by Magdalene Odundo, stuns by its simplicity. As the bygone residents of the Palladian mansion depicted in the paintings gaze down superciliously, Odundo’s Untitled (2024) – a self-portrait, but also a portrait of humanity – commands a different kind of power. Its form captures an ancient human history and artistry, using the age-old terra sigillata technique, where the forms aren’t glazed but are coated with a slip made from diluted clay. The vessel’s form also represents a necessity, to carry and to transport, that endures. A single, protruding nub in the side of the piece – evoking a nose, or a nipple, a signature of Odundo – anthropomorphises the ceramic object. But it’s what inside that completes it – the part we can’t see.

    Odundo has dealt with the global history of looking and our relationship with objects, using ceramics and glass to allude to human bodies, for more than 40 years. She is the first Black artist, and the first woman, to be exhibited at Houghton Hall, and her approach is telling. Rather than vie with the lavish, Italianate William Kent-designed interiors of the state rooms, or intervene in its history, she has taken a different approach, rarely seen in these kind of contemporary exhibitions at heritage homes; she has tried to blend in, to assimilate her own history with the one that is so pristinely preserved here.

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  • 13 May: More than meets the eye: Valérie Belin, master of mirage – in pictures - Exhibitions | The Guardian

    The French photographer has been crowned Master of Photography at this year’s Photo London thanks to three decades of work exploring femininity and the body

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  • 12 May: The big picture: Huck Finn in 1970s New Jersey - Exhibitions | The Guardian

    Pioneering Black photographer Ming Smith captures four boys creating rafts from rubbish in New Jersey

    Ming Smith photographed the four boys on their backdoor rafts on a pond in Hoboken, New Jersey, in 1972. She called the unlikely urban Huck Finn scene Setting Out to Sea, since that’s where one or two of the friends seemed to be aiming for, at least in their heads.

    Smith was developing big plans of her own at that time. Detroit-born and raised in Columbus, Ohio, she had arrived in New York a year earlier after graduating from Howard University. Her first published pictures appeared in the inaugural, renowned Black Photographers Annual in 1973. The annual, with an introduction by Toni Morrison, featured the work of artists from the Kamoinge Workshop in Harlem, which was a prime mover in the Black Arts movement. Smith had become the first female member of that group. Her biography in the annual read: “New York amateur photographer Ming Smith has been taking pictures for less than a year. She is a self-taught photographer, who was first influenced by her father. ‘My photographs,’ she says, ‘attempt to open the passageway to my understanding of myself.’”

    Ming Smith: On the Road is at the Nicola Vassell gallery, New York, until 15 June

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  • 10 May: Treasures on tour, outsized orchids and liberated bottoms – the week in art - Exhibitions | The Guardian

    Monet’s masterpiece flees the National Gallery, Marc Quinn plants himself in Kew and the Tate honours female artists – all in your weekly dispatch

    National Treasures
    As part of celebrations for its bicentenary, masterpieces from the National Gallery hang in museums across the UK including Vermeer in Edinburgh, Caravaggio in Belfast and Botticelli in Cambridge.
    At 12 museums across the UK, closing dates vary

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  • 10 May: From Biggie to Nicki: the most spectacular hip-hop jewelry – in pictures - Exhibitions | The Guardian

    A new exhibition at the American Museum of Natural History in New York celebrates the cultural influence of hip-hop through a selection of eye-popping, custom-made jewelry, worn by stars such as Nas, Slick Rick and Tyler, the Creator. ‘It’s time to celebrate the artists, jewelers, craftsmen, and everyday people who contributed to the storied history of hip-hop jewelry,’ said guest curator Vikki Tobak. Ice Cold: an Exhibition of Hip-Hop Jewelry is on display until 5 January 2025

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  • 9 May: Turner: Art, Industry and Nostalgia review – Fighting Temeraire sets Tyneside ablaze - Exhibitions | The Guardian

    Laing Art Gallery, Newcastle upon Tyne
    How do you make Turner’s most famous painting cool? Take it to Tyneside, where it’s end-of-an-era magnificence takes on a whole new ghostly meaning

    JMW Turner’s The Fighting Temeraire might be the most famous painting in London’s National Gallery and in 2005 was voted The Greatest Painting in Britain, but it’s hardly cool. Its heady atmosphere of patriotic pride and supercharged sentiment is the quintessence of the traditional image the gallery is trying to slough off in its bicentenary year. So while Caravaggio and Van Gogh are at the heart of celebrations in London, The Fighting Temeraire has been, as it were, dragged off by steam tug to be quietly moored on the Tyne.

    Yet instead of just borrowing this unfashionable masterpiece, as part of a project entitled National Treasures that has sent 12 NG paintings out and about, Newcastle’s Laing Gallery has built an ambitious and moving exhibition around it.

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  • 9 May: Artist and activist LaToya Ruby Frazier: ‘I come from community that’s been forgotten’ - Exhibitions | The Guardian

    The photographer, one of Time’s most influential people of 2024, prepares for a major survey of her work at the MoMA

    Photographer and activist LaToya Ruby Frazier’s Monuments of Solidarity is monumental in all senses of the word. This retrospective covering over 20 years of the artist’s output represents an opportunity for Frazier to not only show a body of work that she has devoted her creative life to, but also to show it in a way that she never thought she might be able to.

    Comprised of a series of installation pieces that Frazier has declared “workers’ monuments”, this exhibit has given the photographer a rare chance to show her work on her terms – that is, to not merely show her photographs as pictures on walls, but to contextualize them via installation work that give a sense of the full networks of relationships and activism that she has built up while taking the photos. According to Frazier, it was an unexpected delight that an institution like New York’s Museum of Modern Art (MoMA) granted her the authority to do this exhibition on her terms. “This has been the most organic, harmonious working relationship,” she said. “They have let the work lead, which is really big.”

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  • 9 May: Bottoms up! The joyfully lewd art of Beryl Cook and Tom of Finland - Exhibitions | The Guardian

    Once dismissed as bawdy kitsch, the two artists’ work has found a new generation of fans. A new exhibition celebrates their embrace of sexual liberation – and some ‘amazing bums’

    The ways in which artists become accepted by the art world are many and complicated. Take the reputations of Beryl Cook (1926-2008) and Touko Laaksonen, better known as Tom of Finland (1920-1991). Both spent most of their careers having their work either ignored or actively disdained by the establishment: Cook cast as purveyor of saucy seaside postcards in oil, Tom as homoerotic cartoonist. Then, later in life and having already attracted significant followings outside the gallery and museum systems, they were eventually granted some sort of official approval.

    “But they have far more in common than just career trajectories,” says Joe Scotland, director of Studio Voltaire in London and co-curator of a new joint exhibition. “In formal terms they both articulate the human figure in very distinctive and hyper-realised ways. And from that emerges a wonderful sense of pleasure and fun and desire that is free of any sense of shame. You can also explore ideas around gender, class, politics, body image and much more in their work. And then, of course, there are simply joyous celebrations of some amazing bums.”

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  • 8 May: Insight! Sensitivity! Genius! Our critic picks the top five masterpieces in the National Gallery - Exhibitions | The Guardian

    It started from scratch – and became one of the world’s greatest collections. As the National Gallery celebrates its 200th birthday, we pick five sublime works – from a serene statesman to Van Gogh’s blazing blooms

    The National Gallery in London is 200 years old on Friday, but what makes it so special? Founded in 1824 when public museums of fine art were in their infancy, it was different from rivals such as the Louvre (founded 1793) and the Prado (1819) because they inherited royal collections. By contrast, the National started from scratch and has intentionally built up the world’s most systematic corpus of European paintings. In that same thoughtful spirit, the gallery and the Guardian have charted a timeline of 20 of its masterpieces. Here are five of those to take you on a trip through 600 years of insight, sensitivity and genius.

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  • 7 May: Jumpin’ Johannesburg: Soweto’s Afropunk skaters! – in pictures - Exhibitions | The Guardian

    From beer rituals to (literally) electrifying punk shows, Karabo Mooki’s images capture the counterculture of one South African township

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  • 7 May: Guernica-style battle of Orgreave painting stars in miners’ strikes exhibition - Exhibitions | The Guardian

    Bob Olley’s unsettling vision of clash between miners and police is part of 40th anniversary show in Bishop Auckland

    Bob Olley was there 40 years ago at the “battle of Orgreave”. “I saw the violence,” he said, shaking his head. “I thought I was in a foreign country when I saw what the police did. It is hard to believe it happened in this country.”

    The brutality he and others witnessed on 18 June 1984 as striking miners met 6,000 police officers on horses or wielding batons on foot will stay in the memory. It was in his head as, some years later, he embarked on his response to one of the world’s greatest artworks, Picasso’s Guernica.

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  • 6 May: Lost Caravaggio that almost sold for €1,500 to go on show at Prado in Madrid - Exhibitions | The Guardian

    Ecce Homo will be museum’s second Caravaggio, after being spotted on sale in Spanish capital in 2021

    A lost Caravaggio painting of the scourged and thorn-crowned Christ that was misattributed and almost sold for just €1,500 is to go on show at the Prado museum in Madrid three years after its discovery shocked the art world and made headlines across the globe.

    The Ecce Homo, which measures 111cm by 86cm, had been attributed to the circle of the 17th-century Spanish artist José de Ribera when it was offered for sale at a Madrid auction house in April 2021. But something about the painting and its luminous qualities led experts in Spain and Italy to re-examine the work.

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  • 5 May: A picture’s worth a thousand words … but only some of them tell the whole truth - Exhibitions | The Guardian

    A new exhibition asks us to look again at classic images of war, protest and revolution, and sheds light on manipulated photographs

    A Russian soldier raises a Soviet flag over Berlin’s Reichstag in Yevgeny Khaldei’s well-known 1945 photograph of wartime triumph.

    But in the original image, the officer standing below can clearly be seen wearing a watch on both wrists. Khaldei’s shot, first printed in a Moscow magazine, was quickly withdrawn and the extra watch, which might actually have been a military compass, was removed for safety’s sake. Looting was not a good look and was punishable by death.

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  • 5 May: Michelangelo: The Last Decades review – feels close to a religious experience - Exhibitions | The Guardian

    British Museum, London
    This huge yet intimate show of the Renaissance polymath’s work guides you by the heart as well as the eyes, through hypnotic studies, his own words, and drawings that are prayers as much as pictures

    The final section of the British Museum’s exhibition Michelangelo: The Last Decades is circular and enclosed. The walls are black and the light low. The feeling is of being in a small chapel: if a person was to speak in this space, they would surely whisper – though my instinct was for absolute silence. The work on display here, made in the last 30 years of the artist’s long life, is so far beyond the meaning bestowed by words, and even if it wasn’t, who could improve on those of Michelangelo himself? By the door is one of his poems, dated 1554 (on loan from the Vatican library, it is gorgeously translated by James Saslow). “The voyage of my life has at last reached/ across a stormy sea, in fragile boat,” it begins. It acknowledges that the moment of “accounting” is imminent. It speaks of a soul that may no longer be calmed by the material. Death is engraved on its author’s every waking thought.

    The sketches of the crucifixion in this room are exquisite, of course, their beauty and tenderness only deepened by the fact that the artist’s hand is now less steady, his sight possibly fading. But there’s something else as well: a numinosity that radiates outwards, like heat. These drawings are as much prayers as they are pictures, each one a bead on a rosary. Over and over, the artist works away with his black chalk, moving ever closer to the truth as he sees it. In Crucifixion with the Virgin and St John the Evangelist (c1555-63), Mary presses her cheek against Christ’s naked thigh. Her body half curled, her hand resting on her chin, she seems in her bewilderment and her sorrow more child than mother. It is one of the most daringly intimate depictions of the crucifixion I’ve ever seen, and for all that I’m more or less entirely godless these days, it brought me almost to tears.

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  • 4 May: Faux Native American costumes and clothing reconsidered – in pictures - Exhibitions | The Guardian

    Artist Selena Kearney was raised on the Chehalis reservation in Washington state and began photographing fake native regalia after a chance encounter with a young woman in a grocery store on Halloween. “She was wearing a skimpy faux-Native American costume,” she says. “I couldn’t begin to understand how that cheap outfit had anything to do with me, or my heritage.” Curious about the power of these objects, she started to collect and consider them, sourcing sports paraphernalia, traditional headdresses and vintage and new costumes from eBay and Amazon. Over the course of five years, Kearney photographed them and the resulting series is now featured in a book, Every Object Has a Ritual (published by Minor Matters), and an exhibition at the Suquamish Museum in Washington state (Object/Ritual, 18 May-January 2025). “Collecting masks felt the hardest of all,” she says. One featuring a woman with two braids was particularly unsettling. “A parody of me, looking back at me.”

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  • 4 May: Henry Moore’s miniature sculptures celebrated in Bath show - Exhibitions | The Guardian

    Exhibition of mini Moores is billed as first of its kind and Holburne also hosting Mr Doodle’s first UK museum exhibition

    Henry Moore is celebrated for his monumental sculptures that turn city squares and parks into outdoor art galleries. But the Holburne Museum in Bath is staging a groundbreaking exhibition called Henry Moore in Miniature, a collection of the great artist’s works that could fit into the palm of the hand.

    The museum’s director, Chris Stephens, said its relatively small spaces meant one of the themes of its programme was to showcase the intimate in art – and the retrospective of mini Moores met the brief perfectly.

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Originally posted 2011-02-25 17:28:49. Republished by Blog Post Promoter

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