April/May 2013
Friends in Love and War
Stitched: Scotland’s Embroidered Art
Medieval Women: In Their Own Words
Lindsey Mendick – interview: ‘My brain is not my best friend’
Bekhbaatar Enkhtur: Hearsay
Victor Pasmore | Patrick Heron: VIII São Paulo Biennial, Great Britain 1965, revisited
Lygia Clark: The I and the You
Erica Rutherford: The Human Comedy
Larissa Sansour
Click on the pictures below to enlarge
Art Bin: Landyfill Since emerging from Goldsmiths at the beginning of the last major recession, Michael Landy has pursued particular themes across a sequence of big projects.
In the darkest hour, there may be light: Works from Damien Hirst's murderme collection A range of symbols spring to mind when thinking about death: the hooded figure wielding a sickle, the faceless boatman ferrying the souls of the dead across the River Styx, the watery existence ascribed to the souls in Hades' underworld and Purgatory - the quintessential departure lounge where Christian souls gather waiting to pass into eternal bliss.
Dan Flavin Dan Flavin's work is exemplary. Of what? Yet, he preferred to call his works simply 'proposals', rather than sculptures.
Matthew Barney: Drawing Restraint When we speak of executing something - an article, a work of art, a musical composition - we speak of working towards some kind of resolution, of there being a sequence of events causally related and moving forward in time. Sometimes the end product, in the case of art, will stand on its own without a trace of what went before, as if all moments working up to that point have been washed clean, leaving the work immaculate, but in a way, lifeless.
Abstract America: New Painting and Sculpture In his seminal essay