I wait around in the Center for Italian Modern Art’s kitchen before the tour of the Giorgio Morandi exhibition begins.
“It’s hard to paint around a cloud,” said Tacita Dean the other day.
LONDON — Last year was my first Frieze London fair, and I was baffled that it could seem so desultory, given that it was chock-a-block with pointlessly novel artworks.
After last week’s post on Phyllida Barlow’s solo turn on the fourth floor of the New Museum, it seemed apropos to mention the exhibition one flight down, which is devoted to one of her better-known students from London’s Slade School, Tacita Dean: Five Americans.
LONDON — With all the fanfare and hullabaloo surrounding Queen Elizabeth II’s Diamond Jubilee (celebrating sixty years as the British monarch) wrapping up this past Tuesday, I was reminded of another ancient British tradition that is taking place now, too: the Royal Academy of Art’s (RA) summer exhibition.
The specter of communism currently haunts the New Museum in its summer “bloc-buster” exhibition “Ostalgia.” It’s an ambitious project that consumes most of the galleries with a swirling conglomeration of disparate mediums, artists, scales and concepts that reflect the miasmic atmosphere of post-Soviet territories.