Here I take a closer look at Deyan Sudjic’s recent comments on BBC ‘Front Row’ on how craft has been burdened by expectations of utility – this against a(n) alleged hierarchical backdrop of the arts. And why I have come to regret reading R.D. Laing’s ‘Knots’ at the age of 8. Read the article in Wall Street International June 2018.
Image credit: Meret Oppenheim. Object, 1936. Fur-covered cup, saucer, and spoon, cup 4-3/8 inches in diameter; saucer 9-3/8 inches in diameter; spoon 8 inches long,” ( Courtesy: The Museum of Modern Art, NYC).
Delighted that we were able to successfully install Damien’s monumental anatomical model in St George’s Street yesterday. See his work at Houghton Hall simultaneously. Supported by NUA, the City Council and Houghton. Thanks to Damien particularly for the generous loan of this work from his own collection.
image: Neil Powell 2018.
Michelangelo Pistoletto is undoubtedly one of the most celebrated Italian artists of a certain age and perhaps the star turn of the Arte Povera generation. The review of his current exhibition at Simon Lee in London, for Wall Street International, can be found here.
‘Etruscan holding up a Mirror’ (1976). ©Courtesy the artist
February 1, 2018 to June 3, 2018 at the new Museum of Cultures (MUDEC) in Milan, Italy (www.mudec.it).
Photo credit: Frida Kahlo and Diego Rivera courtesy of Doppel Standard.
I don’t profess to be an expert on Frida Kahlo, and I guess it took me a long time, many years in fact, to be persuaded towards her particularly raucous Latino-Mexican aesthetic. The exhibition ‘Frida Kahlo. Beyond the myth’ at MUDEC in Milan is bold in attempting to explode this artist’s very particular myth, provocative and enjoyable; read about it here.
A brief insight into a particularly English cross-section includes many of Flowers’ more established artists, but is none the less interesting for that. Gavin Turk, Nicola Hicks, John Carter, Clyde Hopkins and Maggi Hambling are just few of those who have staked a claim in a very British version of recent art history. As we live out some kind of Groundhog Day re-acclaimation of the merits of the ‘new art’, there is an endearing sense of refuge to be found in the works inhabiting Flowers’ understated confines. Read all about it here.
Natalie Arnoldi, Untitled, 2017, Oil on canvas Image credits: Images © the artist, courtesy of Flowers Gallery
I remember being mesmerized on seeing Luciano Fabro’s L’Italia d’oro (1968) for the first time back in the early 1980’s. Fabro’s portrayal of Italy, hung inverted like some heretical carcass, ironically gilded and sacrificed, seemed to me at the time to be the epitome of a disrupted nationalism. Read about Fabro – and what we have all been missing – in this article about this incarnation at Simon Lee Gallery in London, here.
Image courtesy of Simon Lee Gallery and the Estate of the Artist 2017.