April/May 2013
Berlin. Cosmopolitan: The Vanished World of Felicie and Carl Bernstein
Margaret Salmon: Assembly
Jenny Saville: The Anatomy of Painting
Emma Talbot – interview: ‘I imagine the experience of life as an epic story – the one we all have’
Mike Nelson: Humpty Dumpty, a transient history of Mardin earthworks low rise
Mikhail Karikis – interview: ‘What is the soundscape of the forthcoming future? The women’s response was gasping’
It Takes a Village
Slavs and Tatars: The Contest of the Fruits
Liverpool Biennial 2025: Bedrock
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