American artist, Romare Bearden’s (b.1911) practice is complex and wide reaching. This exhibition at Michael Rosenfeld Gallery is the first to focus exclusively on collage, the medium through which Bearden arrived at his later style. Created between 1964 and 1983, the 21 works in the exhibition exemplify Bearden’s exceptional talent for story-telling as well as his mastery of the medium’s fragmentation of form and space. Together, they reveal an innovative artist whose style is distinguishing by partial images, unexpected juxtapositions, harmonious collisions, and a dynamic modernist aesthetic that continues to inspire and challenge viewers today.
Review by Colin Herd
To accommodate Recent History, the Tate St Ives has reversed the sequence of galleries, so the show begins in Gallery 5 and finishes up in Gallery 2. It’s an appropriately counter-intuitive way to experience Simon Starling’s work, the process of backcombing through the galleries is an interesting analogue to the journeys, retreaded routes and return-voyages around which his practice so often centres. Presenting work produced in the last five years, Recent History is the largest exhibition of Starling’s work to be shown in Britain since he won the Turner Prize in 2005 for Shedboatshed.
Review by Ruaidhri Ryan
“I’m not a film purist, for me it is about my own enjoyment; I really don’t feel part of a debate between film and digital.”
Purists may argue that film should be displayed as film – the Lumière Brothers adapted the camera they shot with to become the projector they would display with. The debate between film, digital and display is regular discussion point around artists’ film and video, yet some artists’ work questions the relevance of this debate.
Review by Charles Danby
The Jerwood Encounters series was launched in 2008 to investigate the margins of the primary fields of the Jerwood visual arts programme, of painting, sculpture, drawing and photography, and as such it has most readily orientated itself around performance, media and event. SHOW is the latest of this series, the fourth devised and curated by in-house curator Sarah Williams. In line with her previous outputs, Locate (2010), Laboratory (2009), An Experiment in Collaboration (2008), SHOW places new work, process, documentation, and durational activity, centrally to an investigation of what an exhibition and curatorial framework is and can be.
A disused terraced house in Bensham, Tyneside, which is scheduled for demolition, is to briefly enjoy a radical new life – as a contemporary art gallery. The property – a converted fair of flats – is playing host to a unique project inspired by the changes being brought about in the local area and carried out by members of Behsham’s growing art community.
Review by Colin Herd
In a tiny photograph of a domestic interior, the doors of an ornate wooden cabinet gape open. In the lower half, a chest of drawers; the upper half, three deep shelves. On the top two shelves are books, papers and medicine vials; on the third shelf, something altogether more surreal: a slight-built young woman lithely scrunched into the cupboard. Dressed in shorts, white socks and a sleeveless polka-dot blouse with a bow in her hair, she looks both adolescent and feline, insouciantly stretched out, all gangly limbs and eyes tight shut, apparently asleep. In spite of the bow and the polka dots, there’s something provocatively boyish about the prominent arm and leg dangling from the edge of the shelf, limbs tanned the colour of bronze.
SHADOWBOXING: Mariana Castillo Deball, Sean Dockray, Marysia Lewandowska and Wendelien van Oldenborgh @ RCA
Review by Emma Cummins
In November 2010, the graduating students of the MA Curating Contemporary Art course at the Royal College of Art, invited the artists Mariana Castillo Deball, Sean Dockray, Marysia Lewandowska and Wendelien van Oldenborgh to respond to Giorgio Agamben’s seminal essay What is an Apparatus? (2009). The dialogue prompted by this text was central to the development of SHADOWBOXING; a dynamic exhibition accompanied by an ongoing series of events, talks and publications.
Review by Laura E. Barone, a candidate for the MA in Art History at Richmond the American International University in London
The Embankment Galleries at Somerset House have been transformed into a vibrant, living and breathing art space for the second year of Pick Me Up: Contemporary Graphic Art Fair. Packed to the brim with established and new talent, the fair includes Pick Me Up Selects, a showcase of international design from new talent in graphic arts, an open studio with designer-in-residence Anthony Burrill, and spaces for several London graphic art collectives and galleries including Print Club London and Evening Tweed.
Review by Paul Hardman
Right from the first moment of entering this exhibition at the Serpentine, Spero’s art makes an assertive and powerful impression. Immediately after passing through the gallery’s doors, a panorama manifests itself across the whole field of vision. Disembodied heads on the end of chains radiate out of a central point in the centre of the ceiling as if from a demented hellish maypole. Each face is composed of rough distressed marks, colours bleeding into each other, surfaces pitted, expressions of horror and torment, some screaming in rage or pain, others sticking out long tongues. That this will be a visceral and uncompromising exhibition is apparent immediately.
The collaboration between Bernard Herrmann and Alfred Hitchcock is one of the most famous, tempestuous and productive creative relationships in Hollywood to date. To coincide with Herrmann’s centenary in 2011, York St John University is bringing together practitioners and academics working on a range of theoretical, analytical and historical perspectives.
European cinema occupies a special place in the heart of the cinema-going public: a Danish film, In a Better World, picked up the Best Foreign Language Film at the Oscars this year and films from across the continent are proving popular worldwide. One of the major events celebrating independent European filmmaking and bringing it to worldwide attention is The European Independent Film Festival (ÉCU). Considered the European equivalent to Sundance, ÉCU has established itself as an arena for independent filmmakers to screen their films in front of large audiences of cinema-goers and industry professionals.
Preview by Rym Kechacha
Born just outside Granada in the heart of Andalucía, the influential Spanish writer Federico Garcia Lorca was highly influenced by the rhythms and shapes of flamenco. In that cruel way that life often has of imitating art, his inner world was just as tortured as that of his characters- full of longing, isolation and ending in a brutal murder.