Sometimes free exhibitions are as interesting as ones you pay for. This is the case of three free exhibitions displayed in three different rooms at the Ashmolean museum in Oxford.
The Museum Carlo Bilotti is located in the elegant edifice of the Orangery in the park of Villa Borghese. It is one of the many and interesting museums of the Municipality of Rome scattered around the capital, and is free of charge.
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.
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”.
For an artist whose career is based on confronting the spaces we either ignore or deliberately avoid, the now-demolished BBC office that reputedly inspired Room 101 in George Orwell’s 1984 is perfect subject-matter.
Art is Comic, billed as a light-hearted response to terror, is the latest exhibition to embrace rough, industrial brickwork as the perfect backdrop for popular artists with hundreds of thousands of followers and an outwardly casual attitude towards failing politics and social injustice.