Visiting the Whitechapel Art Gallery show (until 14 March 2004) entitled 'Atlas', the doyen of London critics, Waldemar Januszczak suffered a bout of depression, sensing an institutionalism wholly pervading the serried ranks of exhibits - reminding him of his own Eastern European early childhood in Poland. As Waldemar said 'you can take an artist out of East Germany but you cannot take East Germany out of an artist'. Interspersed with all that, the occasional, sublime paintings were each, 'a small oasis of pleasure' said Waldemar. We are bound to agree, resenting the sense of an overwhelmingly repetitive, personal archive that this show represents. Why does New York go wild about Richter, while London stands back? This exhibition does nothing to bring closer a similar retrospective, say at Tate Modern, to that in MOMA.
Colour Chart: Reinventing Colour, 1950 to Today
Pop art, performance art, conceptual art, abstract art, video art, installation art and even word art have all been made out of, inspired by, colour and the extensive new exhibition Colour Chart: Reinventing Colour snaking around the top floor of Tate Liverpool this summer is testament to this.
Joseph Beuys: Actions, Vitrines, Environments
Joseph Beuys tested the international art world to breaking point throughout his career. Now, nearly 20 years after his death, he is questioning the capacity of the art world to do justice to his theories on art and his methods of making art, which have previously resisted the efforts of art gallery directors, curators and art conservators to preserve it from its inherent vulnerability.
Mediators and Messengers: Contemporary Art in the Landscape
The entire agenda for painting about landscape has shifted in the 21st century. Concepts and readings of the land have a weighty and protracted precedence but in the 1970s, far-reaching revisions were explored by artists. These have generated a powerful volume of new work by painters, and installation and land artists.