Locke’s stunning, sensuous spectacle of pattern and color, just like the grand tradition of Caribbean carnivals, hints at sinister elements that undergird the whole endeavor.
Is It Possible to Enjoy Cornelia Parker’s Works Without Her Words?
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Tate’s Survey of Caribbean-British Art Centers Britain
By the end of Life Between Islands, the island that is centered in this exhibition is Britain, and “the Caribbean” remains a loose, ill-defined, hazy backdrop
A Hogarth Survey Has Good Intentions but Misses the Mark
Why assemble the most significant grouping of Hogarths from far and wide without indicating why calling out the faults in historical artworks is important to our understanding of our world today?
Tate Britain Will Commission Artist to “Critically Engage” With Racist Mural
Critics have long called for the mural, which depicts bound Black enslaved people, to be removed from the museum’s former restaurant.
The Great Painter of London’s Mayhem
Hogarth and his contemporaries agreed that human life was a stinking and dirty business once you had skimmed the froth off the top.
Paula Rego’s Raging Women
Rego’s women are always independent spirits, and they are often raging.
“Salmon” Pink and Other Relics of Pre-Industrial Agriculture
As the Turner Prize-nominated duo Cooking Sections forcefully reveals, it’s not just salmon that are changing color due to harmful agricultural techniques.
The Silence of Lynette Yiadom-Boakye
Looking at Yiadom-Boakye’s portraits is an act of slow discovery, the unveiling of a mystery.
J.M.W. Turner, the Modern
A show at Tate Britain underscores Turner as the great recorder of elemental disorder and industrial pollution on the grand scale.
Wrapped in Festive Neon, Tate Britain Marks Diwali
Unveiled just ahead of the holiday, Chila Kumari Singh Burman’s installation is sure to leave Londoners with a sense of warmth and light amid the gloomy winter months.
Aubrey Beardsley’s Self-Conscious Depiction of Degeneration
Although Beardsley was foremost a decorative illustrator, he depicted the physically monstrous and assorted polymorphous perversities.