TATE MODERN
Louise Bourgeois's 'spider' is more than 20 feet high, is called 'Maman', and hovers protectively over what appear to be white eggs. Close by, the massive work entitled "I Do, I Undo, I Redo", consists of three steel towers. These towers convey the essence of the three activities with remorseless logic. Most of us spend large parts of our lives in one or other such mode. As Bourgeois says, "The Redo means that a solution is found to the problem. It may not be the final answer, but there is an attempt to go forward...". Louise Bourgeois was born in France, but her career developed mostly in New York. The commission could be seen as a typical arrangement of curatorial diplomacy -American, yet European: but the installations by Bourgeois, whatever the reasons of choice, do seem to fulfil the promise of this enlightened decision. In future years, it may be a hard act to follow, given these massive spaces, and the manner in which the ageing genius has filled them, and with what child-like wonderment. Which reminds one of some other, British options. In the future, how will Kapoor fill it, or Gormley, or perhaps most interestingly now, Philip King: save us from Caro, or Moore. Such installations are also plagued by exposure, or over-exposure. That cannot be said of Bourgeois. She has christened the space, and magnificently for today.
Click on the pictures below to enlarge
Dundee’s V&A Design explores the fascinating history of this miraculous but now highly controversi...
,-Mama-Look-a-Ban-Passin,-1990-300.jpg)
Paint Like the Swallow Sings Calypso
Paul Dash, Errol Lloyd and John Lyons show their own works alongside those of others from the collec...
Elizabeth Price’s explorations of the archives of carpet manufacturers operating in Scotland from ...
Vanessa Baird – interview: ‘I don’t think art can rescue anything’
As two shows of her thrilling, carnivalesque drawings open in the UK, Oslo-based artist Vanessa Bair...
Making Modernism: Paula Modersohn-Becker, Käthe Kollwitz, Gabriele Münte...
This is a brilliant exposition of these four painters, who were working in Germany at the start of t...
Strange Clay: Ceramics in Contemporary Art
Expect the unexpected from this exuberant show of ceramic fine art, filled as it is with fantastical...
In this, Qiu Zhijie’s first solo UK show, we must mentally navigate his ink map paintings, in whic...
John Riddy – interview: ‘I don’t want to make an ordinary print. I w...
John Riddy talks about his work over the years and his new show at Frith Street Gallery in London, w...
Grafton Architects: ‘A building is a collection of experiences. It’s n...
Designing a new building for the LSE, Grafton’s founders, Yvonne Farrell and Shelley McNamara, wer...
Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism
A precisely focused exhibition takes us into the disturbing mind of the eccentric 18th-century artis...
The Artist’s Studio: A Cultural History – book review
Hall’s accounts of the changing nature of artists’ studios from Greek antiquity onwards are enth...
Marina Strocchi – interview: ‘I quit regular employed work to focus on...
An internationally recognised artist in her own right, Marina Strocchi has also spent many years in ...
H’arts in Mind: Drawing Our Way Back to Health
Paying lip service is not enough. The artworks in this exhibition, made by members of the mental hea...
Adrian Ghenie: The Fear of NOW
Two new series by the history-fixated Romanian painter Adrian Ghenie see him tackle the woes of the ...
Shi Jinsong: Waiting for a response which we might never get
With his tree motorbikes modelled on Harley-Davidsons and bamboo fashioned from metal, Shi Jinsong s...
Stephen Willats: Social Resource Project for Tennis Clubs
In the 1970s, Stephen Willats worked with four socially disparate tennis clubs in Nottingham in a pa...
Harold Cohen: The AARON Retrospective
Could one human’s lifetime of artistic knowledge be encoded? That is what Harold Cohen set out to ...
Helen Saunders: Modernist Rebel
One of only two female members of the vorticists’ group, Helen Saunders' work was later sidelined....
Hans Ulrich Obrist and Peter Pakesch – interview: ‘The work of Atta Kw...
The artistic director of the Serpentine Galleries and the director of the Maria Lassnig Foundation e...
Kate Groobey – interview: ‘The drip, for me, is pure joy and a kind of...
Kate Groobey talks about bringing her paintings to life through performance, diverse cultural and li...
-2021-(medium-res)-300.jpg)
Gabriel Orozco: Diario de Plantas
During the Covid-19 pandemic, reflecting his concern with the fragility of our environment, Gabriel ...
Just Above Midtown: Changing Spaces
Linda Goode Bryant’s gallery and experimental space gave prominence to black artists and artists o...
Sámi Pavilion (Nordic Countries), Venice Biennale 2022
Sámi artists Anders Sunna, Máret Ánne Sara and Pauliina Feodoroff have transformed the Nordic Pav...
Hollow Earth: Art, Caves & the Subterranean Imaginary
Nottingham Contemporary takes a richly rewarding descent into the art of the underground: a place fo...
Lucian Freud: New Perspectives
This thought-provoking exhibition attempts to shift our attention away from the myths that surround ...
Kamala Ibrahim Ishag: States of Oneness
Women and plant forms are intertwined among primal patterns and symbolism in Kamala Ibrahim Ishag's ...
Jorge Tacla: Stagings/Escenarios
The 1973 coup in Jorge Tacla’s mother country and the brutal dictatorship of General Pinochet that...
Dindga McCannon – interview: ‘Not having money never stopped me creati...
With a 50-year career as an artist and teacher, Dindga McCannon is widely celebrated in the US’s b...
Anna Freeman Bentley: Make Believe
Anna Freeman Bentley’s sensuous paintings evolved from an informal residency on the set of The Col...
KarinBorghouts-(2)-300.jpg)
Royal Museum of Fine Arts Antwerp reopens after €100m renovation
After 11 years of work, the Royal Museum of Fine Arts Antwerp (KMSKA) has finally opened its doors, ...
Copyright © 1893–2022 Studio International Foundation.
The title Studio International is the property of the Studio International Foundation and, together with the content, are bound by copyright. All rights reserved.
 |
 |
 |
|---|
Cy Twombly: Cycles and Seasons
American Sublime: Landscape Painting in the United States 1820-1880
Max Beckmann