One of the joys of the MASP in the Paulista Avenue, Sao Paulo’s equivalent of the Champs Elysees, is that when you pay for entry (every day except Tuesday) nearly everyone else is too busy making or spending money to block your view of old and new masters.
Henry Moore enthusiasts could do worse on this rainy Easter Week than to head for Canary Wharf and see this exhibition, which tells the story of the creation of the Draped Seated Figure, now known as “Old Flo”, and her changing fortunes over the past fifty years.
The Danes have given us “hygge” as a not directly translate-able concept particular to their culture. The Cornish offer “hireth” to refer to an intangible feeling, a longing for the familiarity and comfort of a place.
On Thursday 16th November a group of local government dignitaries, representatives of the Canary Wharf Group PLC and arts professionals from the Henry Moore Foundation assembled in in a well-known cigar and jazz venue in Canary Wharf to celebrate the return of Old Flo.
Auguste Rodin (1840-1917) was the consummate commercial artist. He devised a formula for making lots of money out of his work long before Andy Warhol proclaimed “Being good in business is the most fascinating kind of art”.
On the whole, the curators have given the works the space they need and brought a coherent approach to displaying them in relation to each other, which provides the viewer with a largely satisfying experience.
We are delighted to announce Spectrum’s competition, The Spectrum Art Prize. This is a new national award which celebrates the exciting work produced by artists on the autistic spectrum.
It is always interesting to pinpoint the moment when one becomes conscious of a change of mood or orientation in contemporary artistic practices. Something has emerged that offers quite a different tonic. This ‘something’ might be termed ‘mindful matter’: it is materialism with a twist, or with a new twist.
Heaven and Earth, Richard Long’s serenely exhilarating retrospective exhibition at the Tate Britain art gallery (3 June – 6 September 2009) serves as testimony to a brilliant idea.
Rodin and the art of ancient Greece. Review by Julia Pascal.
It is surprising that Rodin never visited Greece and that his addiction to Greek architecture was partly satisfied by what he saw in the British Museum. Here Rodin rediscovered classical art and was provoked to make new works seeded by these antiquity.