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THROUGH THE LENS

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1.2 .3.4.5.6.7.8.9.10.11.12.13.14.15.16.17.18.

ART . TRAVEL . HISTORIES . SOCIAL STUDIES . STUDIO WORK

Cv December

 

 

 

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

London Review

Museums and Galleries 2019

August

September

John Squires

Disinformation

Newport Street Gallery

Scenes from Daily Life

A Continuing Journal

Kindle/paperback

October

William Blake

Tate Britain

Frieze Masters London

Pre-Raphaelite Sisters

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November

Nam June Paik

Tate Modern

Antony Gormley

Royal Academy

Gauguin Portraits

National Gallery

Bridget Riley

Hayward Gallery

Celia Paul

Victoria Miro

December

London Review

Museums and Galleries 2019

Paperback Kindle Audiobook

Anselm Kiefer

White Cube Bermondsey

 

 

 

 

 

 

 

 

 

 

 

 

 

July

Georgia O Keeffe

Tate Modern

David Hockney

Royal Academy

September♂

Edward Lucie-Smith

Picasso / Pollock

NPG / RA

2017

May

Marina Vaizey Painted Lives

David Hockney . Vanessa Bell

July

Magdalena Wasiura

Les Berberes et Moi

Part One of eight narrated by Deanna Delaney

August

September

October

Aspects of Jasper Johns

Frieze London

A view of the galleries

2018

April

A Royal View

Charles I Art Collection

At the Royal Academy

May

John Latham at The Gallery

Projects 1974 to 1978

June

July

RA Summer Exhibition 2018

A view with Grayson Perry RA

Christo The Mastaba

Serpentine Gallery

September

Carbon Trace

Media Sketchbook

2019

January

Mantegna/Bellini

National Gallery

Pierre Bonnard

Tate Modern

February

John Ruskin

Art Critic and Social Pioneer

Two Temple Place

Elizabethan Treasures

NationalPortrait Gallery

The Subversive Stitch

TJ Boulting

Alan Davie/John Bellany

Newport Street Gallery

Bill Viola/Michelangelo

Royal Academy

March

Jeff Koons

Ashmolean Oxford

Franz West

Tate Modern

Diane Arbus

In The Beginning

Hayward Gallery

April

Van Gogh and Britain

Tate Britain

Mary Quant

The V&A

May

Anish Kapoor

Lisson Gallery

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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