News Archive

Private View held by Richard Andrews

Last updated : 23rd July 2014


Malevich is a retrospective of the radical and hugely influential figure in modern art, who lived and worked through one of the most turbulent periods in 20th century history. Having come of age in Tsarist Russia, Kazimir Malevich witnessed the October Revolution first-hand. His early experiments as a painter led him towards the cataclysmic invention of Suprematism, a bold visual language of abstract geometric shapes and stark colours, epitomised by the 'Black Square', which sits on a par with Duchamp's 'readymade' as a game-changing moment in 20th century art. Starting from his early paintings of Russian landscapes, agricultural workers and religious scenes, the exhibition charts Malevich's journey towards abstract painting and his iconic Suprematist compositions. The show also explores his collaborative involvement with architecture and theatre, including his designs for the avant-garde opera 'Victory over the Sun'. In addition, the exhibition follows his temporary abandonment of painting in favour of teaching and writing, due to state pressure, and his much-debated return to figurative painting in later life. Malevich's work tells a fascinating story about the dream of a new social order, the successes and pitfalls of revolutionary ideals, and the power of art itself. This exhibition, for the first time, offers a chance to trace his groundbreaking developments through both well-known masterpieces and earlier and later work, sculpture, design objects, and rarely-seen prints and drawings. Tate Modern until 26th October.

Discovering Tutankhamun tells the story of one of the most significant archaeological discoveries of the 20th century. Lord Carnarvon and Howard Carter's excavation of the tomb of Tutankhamun in the Valley of the Kings in 1922 made the name of the 'boy king' synonymous with the glories of ancient Egypt, and the spectacular contents of his tomb continue to enthral the public and scholars alike. Howard Carter's hunt for the lost tomb, and the thrill of its discovery, is told through Carter's original records, drawings and photographs, while the phenomenon of 'Tutmania' is explored through a variety of decorative arts, fashions, magazines, sheet music, posters, advertising and other popular cultural memorabilia. The 10 year long process of recording the remarkable objects buried with the king transformed Tutankhamun into an icon of the modern world. Among the highlights are Howard Carter's handwritten diary in which he records the moment of discovery; the glass plate negatives of the excavation made by photographer Harry Burton; exquisite paintings of jewellery from the tomb made on sheets of ivory; and delicate stone sculptures from the time of Tutankhamun. Ashmolean Museum, Oxford, until 2nd November.

The Human Factor: The Figure In Contemporary Sculpture brings together major works by 25 leading international artists who have fashioned new ways of using the figure in contemporary sculpture. In addressing the body, the most frequently revisited subject in art's history, these artists confront the question of how we represent the 'human' today. The exhibition focuses on sculpture that explores a variety of social, political, cultural and historical concerns and incorporates diverse references ranging from science fiction to war monuments, from popular photography to art history. Highlights include: Paul McCarthy's 'That Girl', consisting of three hyper-realistic casts of actress Elyse Poppers sitting in slightly different postures, plus a four-channel video documenting the intricate fabrication of the sculptures using processes at the cutting edge of special effects technology; Katharina Fritsch's theatrical 'space pictures', featuring life-sized cast figures in front of large screen prints of exterior scenes that function like photo backdrops; Pierre Huyghe's Untilled', which transforms an art deco sculpture of a reclining nude by replacing its head with a living beehive, creating an eerie hybrid of nature and culture; and Cady Noland's 'Bluewald', which comprises an enlarged news photo of Lee Harvey Oswald, after being shot by Jack Ruby, which has been silkscreened onto an aluminium panel propped up like a carnival shooting target with a crude wooden support and perforated with several large circular 'bullet' holes around Oswald's midsection and face. Hayward Gallery until 7th September.


Dennis Hopper: The Lost Album presents both a personal visual diary and a document of America's dynamic social and cultural life in the 1960s. The exhibition features over 400 original photographs taken by Dennis Hopper, the American actor, film director and artist between 1961 and 1967. The photographs were personally selected and edited by Hopper for his first major exhibition at the Fort Worth Art Center in Texas in 1970, and the vintage prints were only rediscovered after his death in 2010. Although not formally trained as an artist, Hopper created paintings and assemblages throughout his career and during the 1960s, when he found himself blacklisted in Hollywood, photography became his main creative outlet. For 6 years he worked obsessively, taking an estimated 18,000 photographs, which moved between humour and pathos, the playful and the intimate, the glamorous and the everyday. Hopper took iconic portraits of Paul Newman, Robert Rauschenberg, Andy Warhol, Jane Fonda and many other actors, artists, poets and musicians of his day. He photographed his family and friends and captured countercultural movements that ranged from Free Speech to Hells Angels and Hippie gatherings, taking in figures from the Beat and Peace movements such as Michael McLure and Timothy Leary. These often playful photographs were counterbalanced by images of tense and volatile events, such as the 1965 march from Selma to Montgomery at the height of the African-American Civil Rights Movement, where he accompanied Martin Luther King. The vitality and directness of the images and the sense of time and place that they convey during a decade when American society was undergoing extraordinary upheaval, resonated strongly with cultural production of the period. Royal Academy until 25th August.

Barbara Kruger features new and recent work by the American artist known for her iconic and provocative text works. Barbara Kruger's instantly recognisable works incorporate bold slogans, colour and dramatic presentations of text and image, to investigate strategies of power and influence at play in mass media and contemporary popular culture. The exhibition includes a new site-specific text work that envelops the entire surface area of a gallery from lintel to floor. Coloured black, white and green - a colour that has seldom appeared in her repertoire - this installation emerged in direct response to the distinctive quality of space and light in the gallery and life in the city. While the exhibition addresses ideas of value and consumerism, this work also presents a more philosophical trajectory, confronting the viewer with questions and declarations such as, "IS THERE LIFE WITHOUT PAIN?" "IS THAT ALL THERE IS?" and "THE BRUTAL RELENTLESS FEARFUL END OF IT ALL." The repeated motif of an emoticon references the explosion of digital culture across online and mobile platforms and the influence of these technologies on our lives. The exhibition also includes a series of classic paste-up works from the 1980s; 'Plenty LA', a film capturing the gaze of the phone-obsessed consumer; and 'Twelve', a 4 screen installation portraying exchanges between a series of characters that are both confrontational and evocative of the casual cruelty of soap operas, talk shows and political debate. Modern Art Oxford until 31st August.

Digital Revolution explores and celebrates the transformation of the arts through digital technology since the 1970s. The festival-style event, the most comprehensive presentation of digital creativity ever to be staged in Britain, comprising immersive and interactive art works alongside exhibition-based displays, takes place across the entire complex with ticketed and non-ticketed elements. The exhibition brings together for the first time a range of artists, filmmakers, architects, designers, musicians and game developers pushing the boundaries of their fields using digital media. It also looks to the future considering the impact of creative coding, DIY culture, digital communities and the creative possibilities offered by technologies including augmented reality, artificial intelligence, wearables and 3D printing. The show includes new commissions from artists Umbrellium, Universal Everything, Seeper, and Yuri Suzuki; a collaboration with Google in the form of digital art commissions called DevArt, pushing the possibilities of coding as a creative art form, an online inspiration hub and a competition for undiscovered creative coders; work by Visual Effects Supervisor Paul Franklin and his team at Double Negative for Christopher Nolan's film Inception; plus works by artists and performers including Rafael Lozano-Hemmer, Chris Milk, Aaron Koblin, Bjork, Amon Tobin; and game developers such as Harmonix Music Systems. Barbican, London, until 14th September.

Radical Geometry: Modern Art Of South America spans a dynamic period in South American art, charting the emergence of several distinct artistic movements from the 1930s to the 1970s. From radical innovations in the use of colour and form to new materials like neon and interactive, kinetic sculpture, this exhibition of 80 works reveals some of the most original art of the last 100 years. The display explores the art produced in distinct areas of South America. In Montevideo, Uruguay, Joaquín Torres-Garcia founded the School of the South in the 1930s, through which he planned a new Pan-American art that drew on indigenous American influences. Across the Rio de la Plata, in Buenos Aires, Argentina, a group of artists including Gyula Kosice created Arte Madí that challenged the conventions of traditional painting in the 1940s, such as Juan Mele's 'Irregular Frame'. Further north, from the 1950s artists in Sao Paulo and Rio de Janeiro in Brazil, such as Helio Oiticica and Lygia Clark likewise challenged the notions of art by removing it from the walls of galleries and placing it in the hands of the viewer. Finally in Caracas, Venezuela from the 1970s artists worked with optical illusion to create sculpture and paintings that interacted with the viewer and responded to the light of the tropics, such as Jesus Soto's 'Nylon Cube' and Carlos Cruz Diez's 'Physichromie No 500'. All three regions created new and challenging geometric abstractions that captured the optimism that swept across these countries. Royal Academy of Arts until 28th September.

The Lost Tomb Of Robert The Bruce brings together a collection of long lost artefacts for the first time in over 200 years, and explores the process of archaeological reconstruction. The exhibition presents the first complete 3D digital model of the tomb of Robert the Bruce, creating a detailed visualisation of the tomb architecture in its original setting. Robert the Bruce was King of Scotland from 1306 until his death in 1329. He was buried in the choir of Dunfermline Abbey and his grave marked by an impressive gilded white marble tomb imported from Paris. The tomb was lost in the turmoil of the Reformation era, but a grave and fragments of carved and gilded stone, believed to be those of the vanished tomb, were found in 1818. These fragments have never been on public display together before. A further fragment has recently been found in the collections at Abbotsford, the home of Sir Walter Scott. The identification of these remains and the design of the royal tomb have long been the subject of debate. The visualisation consists of an animated film that shows the position of the remaining fragments and also a 3D flythrough of the reconstructed tomb. In addition to this exhibition, the museum is the home of other Bruce relics, including a cast of his skull, a toe bone, coffin handle and nails, and a fragment of the cloth of gold that his body was wrapped in. Hunterian Museum, Glasgow, until 4th January.

Time Machines: Daniel Weil And The Art Of Design is the first retrospective of the work of the Argentinean whose career spans 30 years at the forefront of design practice, and has taught and inspired the next generation. The exhibition features Daniel Weil's work from young Royal College of Art student to longstanding Partner at Pentagram. Witty and thought-provoking, the display features a series of specially created pieces, as well opening up Weil's sketchbooks and personal archive for the first time. The exhibition includes some of his earliest work, such as 1981's influential Bag Radio, as well as commissions for Swatch, United Airlines, Krug, Mothercare and the Pet Shop Boys. Clocks, cutlery, a chess set - nearly all of Weil's designs evolve from simple pencil drawings in one of the hundreds of identical hardback sketchbooks that he has always used as the starting point for designing. On display for the first time, these sketchbooks are shown alongside the mass of ephemera that activates his imagination. The exhibition focuses on the process of design, about how a designer thinks and works. Weil presents his experience and philosophy of design practice as a manifesto of 'actions for designers'. Continuously inventive, Weil plays with fundamental elements of time, light, space and sound - always seeking a new connection, a fresh approach. The pieces on display, from found objects to finished products, tell a story not of design, but of designing. Design Museum, 28 Shad Thames, London SE1, until 25th August.


Open For Business is a comprehensive documentation of contemporary British manufacturing and industry, captured by the lenses of 9 international photographers from the legendary co-operative agency Magnum Photos. During 2013, Jonas Bendiksen, Stuart Franklin, Bruce Gilden, David Hurn, Peter Marlow, Martin Parr, Mark Power, Chris Steele-Perkins and Alessandra Sanguinetti visited over 100 workplaces in 9 cities across Britain, from one-man businesses to FTSE 100 companies. Their photographs range from traditional, handmade crafts to modern, intelligent automation, and from foundries and assembly lines to research laboratories and high tech cleanrooms, showing an economic sector of resilience and diversity. British industry faces several challenges and this display reflects the daily struggle as businesses attempt to cut costs, streamline processes and level up to international competition. The images reveal that, while in some ways industry has changed so much, in others it has changed so little. The photographs document the shifting balance between white and blue-collar workers, the physical reality of process automation and of environments in which a growing staff manage activity from a computer screen. The project raises questions about the corporate responsibility of employers to their employees, highlights the significance of migration to the workforce and shows the pride exuded from workers who make a huge variety of products. It captures British manufacturing's effect on culture and community life, and celebrates the work, activities and lives of its employees. Museum Of Science & Industry, Manchester, until 3rd August.

M. F. Husain: Master Of Modern Indian Painting features the work of one of the most celebrated and internationally recognised Indian artists of the 20th century. Maqbool Fida Husain, known as M. F. Husain, began his career as a painter of cinema hoardings. Using freehand drawing and vibrant colour, he depicted Indian subject matter in the style of contemporary European art movements, particularly Cubism. Indian Civilization is an ambitious series of 8 triptych paintings, commissioned as a tribute to the richness of India's history. Each panel explores a different theme, together creating a personal vision of India, what Husain called 'a museum without walls'. Interweaving religious and symbolic iconography with historic figures and events, the paintings also incorporate memories from the artist's own life. Husain marked the ceremonial beginning of the series by painting the Hindu deity Ganesha, represented as a four-armed man with an elephant head, shown with an ancient terracotta goddess figure at his side. He celebrated three ruling dynasties from India's long and tumultuous history, placing the ancient Mauryan civilization centrally between two invading rulers, the Muslim Mughal dynasty and the British Raj. The works capture the colour and spirit of Indian festivals, whose ancient celebrations and rituals reflect the passing of time and show the enduring role of religion and tradition in Indian culture. Husain reflected on the domestic lives of India's citizens, showing the daily routines of ordinary urban families, with the major religions of India represented, as generations share their homes and their faith. Victoria & Albert Museum until 27th July.

Otto Dix provides a rare opportunity to see a selection from the series of prints 'Der Krieg' (The War) by one of the artists who revealed the vision of the apocalypse that was the First World War. The 19 prints on show were made by Otto Dix 10 years after the beginning of the War, presumably because it was only then that he could return to the experiences that he went through in the trenches. The prints were ground-breaking, through the impact of the images that Dix conjured, and also in the unique combination of multiple print-making techniques that he employed. Dix dramatises the atmosphere of physical and moral decay: decomposing bodies, shelled soldiers, and surreally empty landscapes. When the Nazis came to power in Germany, they regarded Dix as a degenerate artist and had him sacked from his post as an art teacher at the Dresden Academy. Dix's paintings 'The Trench' and 'War Cripples' were exhibited in the state-sponsored Munich 1937 exhibition of degenerate art, Entartete Kunst, and were later burned. Prints in the exhibition include 'Stormtroops advancing under a gas attack', 'Mealtime in the Trenches ','Corpse of a horse', 'Collapsed trenches', 'Front-line Soldier in Brussels', 'Dead sentry in the trenches' and perhaps best known of all, 'Skull'. De La Warr Pavilion, Bexhill, until 27th July.