Marina Abramovic: 512 Hours at the Serpentine Gallery

Marina Abramovic’s 512 Hours opened at the Serpentine main gallery this week after months of anticipation. However, much of the coverage in the lead up to the show has been focused on the Queen of Performance’s so-called desire for this to be a show of “nothingness” – a judgment that could quite easily flatten mounding … Continue reading

Pollock and Klein: A Bigger Splash at Tate

What makes Pollock and Klein the heroes of painting after performance? Contemporary art came to do many things differently. Just one, was the manner in which painting re-aligned maker with product. Avant-garde art challenged capitalists’ claims to art as a commodity; and one way this was seen in the fifties, was Jackson Pollock’s refashioning of … Continue reading

Cartier-Bresson: A Question of Colour at Somerset House

The Cartier-Bresson exhibition at Somerset House raises the debate: will we ever be able to see art through anything but modern eyes? What I came to the exhibition feeling (and not so incidentally left the exhibition feeling) was that I struggle to imagine we ever will; for so vivid is our picture of the world … Continue reading

Architettura Biennale, Venice

Architecture has always felt to me a limited breed of art: tied as it is to functionality but often desperate to be more than just a good solution to the repetitive problems of how and where do we live. David Chipperfield – the convenor of the thirteenth Architecture Biennale – opens the citywide exhibition with … Continue reading

George Shaw and Graham Sutherland – in light of An Unfinished World

I am like a whimpering lovesick puppy at the moment – I follow 45 year-old George Shaw everywhere he goes. First it was a short journey to Coventry, to see his painting. Next it was to Oxford because he had curated an exhibition held at Modern Art Gallery. With each step, the direct imprint of … Continue reading

Silence – if buildings could speak, a tribute to Thomas Jones

There’s something obviously understated, classy (and consequently timeless) and static about Thomas Jones’ facades from Naples. By nature of their tone – which is linguistically so unassuming, and artistically, reflects the light of the Mediterranean – they are heart-warming… But, they are dull – visually and artistically minimal. Aren’t they? Well, they may appear so … Continue reading

Silence – if buildings could speak

Only very rarely do my creative inputs (outside of my writing) and the thoughts that provoke my writing, coincidence. As they do currently, it seems an apt time to show so of my photographs as a preview of my writings to come. Rooftops and facades from Leamington, London and Oxford (my photographs).

Silence

For some reason or another, I’ve had this long-term fascination with the idea that art, the visual, can be an expression of the audible – it can make sound. More than making sound, it could deliberately omit all sound and be silent. What a dichotomy? We take for granted that in seeing, we also hear. … Continue reading

Rothko In Britain

Period after period of art history are being exalted again in the contemporary exhibition scene. In an orderly fashion they line up, the first decided by where intrigue is currently seen to fester. The recent wave of fascination appears to be in Abstract Expressionism, and has been determined almost undoubtedly by this generation of artists departing. … Continue reading

Degas: Mainstream Mover

There is still a large part of this population, who look to art to be lovely, pleasant and (worse of all) nice. Thus to so many Degas is an easy favourite. I thought (until today) I was one of the masses (the masses queuing eager-eyed in the first week of the Degas and the Ballet … Continue reading