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ART . TRAVEL . HISTORIES . SOCIAL STUDIES . STUDIO WORK Cv December
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June Natalia Goncharova Tate Modern Cindy Sherman National Portrait Gallery Paula Rego MK Gallery Milton Keynes Francis Bacon Gagosian Grovesnor Hill RA Summer Exhibition July Lee Krasner Barbican Art Gallery August September John Squires Disinformation Newport Street Gallery October November Gauguin Portraits National Gallery Bridget Riley Hayward Gallery Celia Paul Victoria Miro December
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July September♂ Edward Lucie-Smith NPG / RA 2017 May Marina Vaizey Painted Lives July Part One of eight narrated by Deanna Delaney August September October 2018 April At the Royal Academy May June July RA Summer Exhibition 2018 A view with Grayson Perry RA Christo The Mastaba Serpentine Gallery September 2019 January Tate Modern February Two Temple Place The Subversive Stitch TJ Boulting Alan Davie/John Bellany Newport Street Gallery March Franz West Tate Modern Diane Arbus In The Beginning Hayward Gallery April Tate Britain May |
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Cu Publications 2012 -19 Print & kindle editions 2012 January March April May June July August October November December 2013 January February Edward Lucie-Smith The Decline & Fall of the Avant-Garde March April Chuck Close July October November December 2014 January Tracks 2014 July September October November December 2015 February The Private John Singer Sargent March October November December
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Anselm Kiefer at White Cube Recorded 3rd December 2019 at White Cube Bermondsey Superstrings, the Norms, Gordian Knot One enters the massive White Cube Gallery in Bermondsey and finds oneself in a darkened avenue bordered by large vertical paintings. Vitrines framed with broad metal casing contain accumulations of mixed media , the Spuperstrings. On closer attention, scrawed on the glass formulas for the scientific specialist, e.g. In Vitrine number 1 to t he left reads Vu+xqa i/2 kud(lodk)ekx, whatever that means. Behind this a confusion of coiled cord, tangled loops of white and black lengths, suspended against a bleached out suggestion of industrial landscape, silhouetted shapes of buildings and chimneys. Another formula scrawled on the glass. V(Nkov):xeinx encased. Are these scientific string theory. (1) In this panel the bunched confusion of cords lies on a silvered textured ground, which may be canvas but resembles parchment. In the fourth vitrine is a mesh of wire squared grid imposed over an absolute forest of black cord, fused and gutted, with white cord disposed at the base. The message seems to be the toppled towers of science, corrupted by the sensual intuitive surge of the artwork. The formulae are reduced to a scrawled nonsense. Vitrine number 6 is a chaotic tangle of elements, LM(O)ho roughly written in chalk. Vitrine number 8, the background appears to be a degraded monochrome photograph that catches reflections of the formula projected by spotlights on the glass. The formula appears on the ground. Vitrine number 10, corroded, silver transverse lines over the ground, ribbed like parchment, but could be painted. Indication o9f a figure rising upwards, deeply sensual. Vitrine number 12, the blackened cords fuse in a gutted mess. The electrical cables melt down to a basic substance, like paint or pigment. Veins and faint blots of maroon percolate the silvered ground. Knife-like shards of silver penetrate upwards and across the surface. The artist within this framework of pseudo-science and through a forest of wildly gyrating elements, allows himself to run free. N.P. James
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