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92 articles
Exhibition Review
A Century of the Artist’s Studio: 1920–2020
05/2022 | 1430 | 164
Pages: 515-517
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Reviewer:
Hall, James (Hall, James)
Subjects
dates:
2020-2030
museums and institutions:
Whitechapel Art Gallery, London, Great Britain
subjects:
Studios (work spaces) / Artists
Reviewed Items
subjects:
A Century of the Artist’s Studio: 1920–2020 Whitechapel Gallery, London 24th February–5th June | :
Illustrations
Attributed works:
28. Installation view of A Century of the Artist’s Studio: 1920–2020 at Whitechapel Gallery, London, 2022.
Attributed works:
29. Untitled (painter), by Kerry James Marshall. 2008. Acrylic on PVC panel, 73 by 62.9 cm. (Private collection; courtesy the artist; David Zwirner, London, and Jack Shainman Gallery, New York; photograph Steve Briggs; exh. Whitechapel Gallery, London).
Attributed works:
30. Untitled, New York, by Francesca Woodman. 1979. Estate digital chromogenic print, 20.3 by 25.4 cm. (Courtesy the Woodman Family Foundation and Victoria Miro, London; © Woodman Family Foundation / DACS, London 2022; exh. Whitechapel Gallery, London).
Exhibition Review
Eileen Agar: Angel of Anarchy
08/2021 | 1421 | 163
Pages: 755-757
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Reviewer:
Mackenzie, Verity (Mackenzie, Verity)
Subjects
artists:
Agar, Eileen
dates:
2020-2030
museums and institutions:
Whitechapel Art Gallery, London, Great Britain
styles:
Surrealism
subjects:
British art / Anarchism / Women artists
Reviewed Items
subjects:
Eileen Agar: Angel of Anarchy Whitechapel Gallery, London 19th May–29th August | :
Illustrations
Attributed works:
25. Angel of anarchy, by Eileen Agar. 1936–40. Plaster, fabric, shells, beads, diamante stones and other materials, 57 by 46 by 31.7cm. (© Tate; exh. Whitechapel Gallery, London).
Attributed works:
26. Quadriga, by Eileen Agar. 1935. Oil on canvas, 51 by 61 cm. (Courtesy the Penrose Collection; © Estate of Eileen Agar; exh. Whitechapel Gallery, London; Bridgeman Images).
Attributed works:
27. Ceremonial hat for eating bouillabaisse, by Eileen Agar. 1936. Photograph. (Private collection; © Estate of Eileen Agar; exh. Whitechapel Gallery, London; Bridgeman Images).
Book Review
The Long Front of Culture: The Independent Group and Exhibition Design (An OCTOBER Book)
09/2020 | 1410 | 162
Pages: 824-825
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Reviewer:
Massey, Anne (Massey, Anne)
Subjects
artists:
Independent Group / Hamilton, Richard
museums and institutions:
Institute of Contemporary Arts (ICA), London, Great Britain / Whitechapel Art Gallery, London, Great Britain
subjects:
British art / This is Tomorrow (Whitechapel Art Gallery, 1956) / Exhibitions
Reviewed Items
subjects:
The Long Front of Culture: The Independent Group and Exhibition Design (An october Book) By Kevin Lotery. 384 pp. incl. 108 b. & w. ills. (MIT Press, Cambridge MA and London, 2020), £36. ISBN 978–0–262–04389–2. | :
Illustrations
Attributed works:
7. Installation view of This is Tomorrow at the Whitechapel Art Gallery, London, 1956. (Courtesy of and © Richard Hamilton Estate).
Exhibition Review
Elmgreen & Dragset: This Is How We Bite Our Tongue. Whitechapel Gallery, London
01/2019 | 1390 | 161
Pages: 80-83
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related names
Reviewer:
Cahill, James (Cahill, James; Cahill, J.)
Subjects
artists:
Elmgreen, Michael / Dragset, Ingar
dates:
2010-2019
media:
Installations (visual works) / Sculpture
museums and institutions:
Whitechapel Art Gallery, London, Great Britain
places:
Great Britain / London
subjects:
Conceptual art / Swimming pools / Metaphor / Language / Literature / Collectors / Statues / Fragments / Casts (sculpture) / Urban history / Christian iconography / Politics
Illustrations
Attributed works:
28. The Whitechapel pool, by Elmgreen & Dragset. 2018. Installation (Photograph Jack Hems; exh. Whitechapel Gallery, London).
Attributed works:
29. Too heavy, by Elmgreen & Dragset. 2017.  Aluminium with lacquer paint and trampoline, 170 by 170 cm. (Courtesy of König Gallery; photograph Roman Maerz; exh. Whitechapel Gallery, London).
Attributed works:
30. Modern Moses, by Elmgreen & Dragset. 2006. Installation (Photograph Doug Peters; exh. Whitechapel Gallery, London).
Attributed works:
31. Installation view of Elmgreen & Dragset: This Is How We Bite Our Tongue at Whitechapel Gallery, London (Photograph Doug Peters).
Exhibition Review
Chantal Joffe: Personal Feeling is the Main Thing. The Lowry, Manchester
08/2018 | 1385 | 160
Pages: 692-694
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related names
Reviewer:
Parton, John (Parton, John)
Subjects
artists:
Joffe, Chantal / Modersohn-Becker, Paula / Almond, Darren / Finch, Spencer / Gordon, Douglas, b. 1966 / Yayoi Kusama, b. 1929 / Periton, Simon / Rovner, Michael / Shawcross, Conrad, b. 1977 / Wright, Richard, b. 1960
dates:
2010-2019
media:
Paintings / Drawings
museums and institutions:
The Lowry, Salford, Great Britain / Whitechapel Art Gallery, London, Great Britain
places:
Great Britain / Manchester / London
subjects:
American painting (United States of America) / Portraits / Self-portraits / Figurative art / Nudes / Gender / Public sculpture
Illustrations
Attributed works:
36. Herb at sixteen, by Chantal Joffe. 2017. Canvas, 100 by 70 cm. (Courtesy the artist and Victoria Miro, London; exh. The Lowry, Manchester).
Attributed works:
37. The squid and the whale II, by Chantal Joffe. 2017. Board, 214 by 152 cm. (Courtesy the artist and Victoria Miro, London; exh. The Lowry, Manchester).
Attributed works:
38. Katherine (eight months), by Chantal Joffe. 2011. Canvas, 152.5 by 91.5 cm. (Courtesy the artist and Victoria Miro, London; exh. The Lowry, Manchester).
Exhibition Review
Photography after Man Ray and Marcel Duchamp. Paris and London
10/2017 | 1375 | 159
Pages: 837
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related names
Reviewer:
Stein, Lisa (Stein, Lisa)
Subjects
artists:
Man Ray / Duchamp, Marcel
media:
Photography
museums and institutions:
Whitechapel Art Gallery, London, Great Britain
Reviewed Items
museums and institutions:
A Handful of Dust at the Whitechapel Gallery, London | :
Illustrations
Attributed works:
72. Dust breeding (Elevage de poussière), by Man Ray and Marcel Duchamp. 1920 (Man Ray Trust, Paris; © Succession Marcel Duchamp/ADAGP, Paris and DACS, London, 2017; exh. Whitechapel Gallery, London).
Exhibition Review
Eduardo Paolozzi. London
05/2017 | 1370 | 159
Pages: 415-416
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related names
Reviewer:
Cornish, Sam (Cornish, Sam)
Subjects
artists:
Paolozzi, Eduardo
dates:
2010-2019
museums and institutions:
Whitechapel Art Gallery, London, Great Britain
places:
London / England
subjects:
Reviews / Exhibitions
Illustrations
Attributed works:
62. Installation view of Eduardo Paolozzi at the Whitechapel Gallery, London, showing (left to right) St Sebastian I (1957, Scottish National Gallery of Modern Art, Edinburgh); Large frog (new version) (1958, British Council Collection, London); and Horrockses cocktail dress (1953, Harris Museum and Art Gallery, Preston), by Eduardo Paolozzi
Attributed works:
63. Yukio Mishima, by Eduardo Paolozzi. 1984 (Private collection; exh. Whitechapel Gallery, London)
Attributed works:
64. Collage, by Eduardo Paolozzi. 1951 (British Council Collection, London; exh. Whitechapel Gallery, London)
Exhibition Review
Women of Abstract Expressionism. Denver, Charlotte, Palm Springs and London
10/2016 | 1363 | 158
Pages: 851-853
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related names
Reviewer:
Anfam, David (Anfam, David)
Subjects
dates:
2010-2019
museums and institutions:
Denver Art Museum, Denver, United States / Mint Museum of Art, Charlotte, United States / Whitechapel Art Gallery, London, Great Britain
museums and institutions:
Palm Springs Art Museum, Palm Springs, United States
places:
United States / Palm Springs / London / Denver / England
places:
Charlotte
subjects:
Reviews / Exhibitions / Abstract Expressionism / Women artists
Illustrations
Attributed works:
91. Hudson River day line, by Joan Mitchell. 1955 (McNay Art Museum, San Antonio; exh. Mint Museum of Art, Charlotte)
Attributed works:
92. Origins I, by Ethel Schwabacher. 1958 (Christopher C. Schwabacher and Brenda S. Weber; exh. Mint Museum of Art, Charlotte)
Exhibition Review
Electronic Superhighway
04/2016 | 1357 | 158
Pages: 305-306
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related names
Reviewer:
Stallabrass, Julian (Stallabrass, Julian; S., J.)
Subjects
dates:
2010-2019
museums and institutions:
Whitechapel Art Gallery, London, Great Britain
places:
London / England
subjects:
Reviews / Exhibitions / Digital art / Digital technology / Computers
Illustrations
Attributed works:
73. Internet Dream, by Nam June Paik. 1994 (ZKM Centre for Art and Media, Karlsruhe; exh. Whitechapel Gallery, London)
Attributed works:
74. My boyfriend came back from the war, by Olia Lialina. 1996 (Courtesy the artist; exh. Whitechapel Gallery, London)
Attributed works:
75. Excellence and Perfection (Instagram Update, 18th June 2014), by Amalia Ulman (Courtesy the artist and Arcadia Missa, London; exh. Whitechapel Gallery, London)
Exhibition Review
Emily Jacir; Kara Walker
01/2016 | 1354 | 158
Pages: 050–051
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related names
Reviewer:
Spawls, Alice (Spawls, Alice)
Subjects
artists:
Jacir, Emily, b. 1970 / Walker, Kara
dates:
2010-2019
museums and institutions:
Whitechapel Art Gallery, London, Great Britain
places:
London / England
private galleries:
Victoria Miro (gallery), London, Great Britain
subjects:
Reviews / Exhibitions
Illustrations
Attributed works:
60. A still from Lydda Airport, by Emily Jacir. 2009 (Courtesy Alexander and Bonin, New York, © Emily Jacir; exh. Whitechapel Gallery, London)
Attributed works:
61. The jubilant martyrs of obsolescence and ruin, by Kara Walker. 2015 (Courtesy the artist and Victoria Miro, London; © Kara Walker)
Attributed works:
62. Four idioms on negro art #4 Primitivism, by Kara Walker. 2015 (Courtesy the artist and Sikkema Jenkins & Co., New York, and Victoria Miro, London; © Kara Walker)
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