CONFESSIONS OF A HIGHLAND ART DEALER: Kate Ashton reviews a memoir full of hope and persistence by Tony Davidson
art
Claudette Johnson’s exhibition Presence. Review by Jenny Vuglar. Johnson first came to attention in 1982 while a student at The Polytechnic Wolverhampton. Britain’s ‘black cultural renaissance’ began, not in the famous institutions of London but in the Polytechs of the north: Wolverhampton, Trent, Sunderland.
Sarah Lucas: Happy Gas. Review by Graham Buchan. It is clear from this retrospective of Sarah Lucas’s thirty-five year career that an obsession with tits, toilets, cigarettes, shoes and chairs informs much of her work.
TEXTUS: Nancy Mattson visits a richly rewarding exhibition of text and textiles at the Torriano Meeting House
HOLDING A POSE: John Lucas comments on an intriguing essay by Anthony Rudolf on the role of the artist’s model
Paula Rego: Crivelli’s Garden. Review by Graham Buchan. Two years ago Tate Britain mounted a major retrospective of Paula Rego’s work and it was a great exhibition. Now the National Gallery shows a single piece of Rego’s work, albeit a big one: Crivelli’s Garden is nearly ten metres wide and two metres high.
Hilma af Klint & Piet Mondrian: Forms of Life. Review by Graham Buchan. I recommend this show because any exhibition which redresses the balance in favour of a neglected artist is to be commended even if, as I think, af Klint’s work is not altogether good.
Frans Hals Exhibition. Review by Barbara Lewis. Frans Hals (1582-1666) painted portraits, “nothing, nothing, nothing but that,” wrote van Gogh to fellow painter Emile Bernard, but that they were “worth Dante’s Paradise and the Michelangelos and Raphaels and even the Greeks”.
By Barbara Lewis • art, exhibitions, painting • Tags: art, Barbara Lewis, exhibitions, painting