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Posts Tagged ‘Dale Chihuly’

Another visit to Masterpiece London, an extraordinary art and antique fair with museum quality exhibits in a stunning temporary structure in Chelsea. This year’s art crop included Canaletto, Picasso, Chagall, Warhol and Banksy, all for sale. It’s hard to believe people come to a marquee, albeit a luxury one, to buy things like this, but they do.

I didn’t think the Royal Academy Summer Exhibition lived up to recent years, but the bonus was seeing an excellent painting of a friend, and it’s always worth a punt. Upstairs, Painter of Disquiet, an exhibition by relatively unknown late 19th century Swiss-French painter Felix Vallotton, proved a treat. An extraordinarily diverse range of subjects and styles, but all rather lovely.

I love seeing the work of artists I’ve never heard of, and after my second time at Van Gogh & Britain at Tate Britain, I took in the Frank Bowling retrospective. Not all of his experiments with paint caught my imagination, but much did, so he was a welcome find.

The Michael Rakowitz exhibition at Whitechapel Gallery was more interesting than aesthetically pleasing. The best installation linked the break-up of The Beatles with events in the Middle East at that time and included footage of them discussing playing live again, possibly in North African amphitheatres. They ended up playing on the Apple building roof, of course, and the installation included film of a recreation of that on a Jerusalem rooftop!

Two treats at the NPG starting with the queen of the selfie, Cindy Sherman, who only photographs herself, but in all sorts of guises, mostly satirising society and fashion. Sometimes spooky, but strangely compelling. I followed this with the BP Portrait Award exhibition, which is of an astonishingly high standard this year.

Lee Krasner at the Barbican Art Gallery proves she was much more than Jackson Pollock’s wife, having lived her life in his shadow. The abstracts weren’t all to my taste, but it was a comprehensive and worthwhile retrospective.

The AI: more than human exhibition at the Barbican was a bit hit-and-miss. In the first part, the background, in The Curve Gallery, there was too much in a small space with too many people, but some of the interactive stuff, like the all-around projections in The Pit, were great – and the cocktail making robots were huge fun.

Beyond the Road at the Saatchi was a very creative immersive exhibition which combined art, film, sound, light and original music to create a hugely atmospheric space to explore. Two of the Punchdrunk boys and musician James Lavelle were behind it. Whilst there I took in two small exhibitions by Chinese artist Mao Jianhua and Sudanese artist Ibrahim El-Salahi, both interesting, but neither particularly striking.

Initially I thought my first visit to the Zabludowicz Collection for Rachel Rossin’s video & VR work Stalking the Trace was going to be another of Time Out’s wild goose chases, but there was also a quirky mixed show and an artist showcase and the converted chapel proved to be an interesting space for art.

Cutting Edge: Modernist British Printmaking at Dulwich Picture Gallery was simply stunning. The work of people from the Grosvenor School of Art in the 1920s-40s, there wasn’t one item that didn’t please in some way. One of the best exhibitions of the year in what is fast becoming one of my favourite galleries.

Manga at the British Museum surprised me. Its traditions go back to the 19th century, and influences beyond that, and the BM has been collecting it for 10 years. It’s a very broad review, very informative, a real showcase for the skills of its proponents.

Kiss My Genders at the Hayward Gallery sets out to explore gender fluidity but goes off-piste quite a bit. It’s way off-the-wall and only occasionally engaging. In the Project Space at the same venue, Hicham Berrada’s Dreamscapes were rather fascinating, using scientific processes like chemical reactions to create art.

A visit to the newly, beautifully restored Pitzhanger Manor in Ealing was a double treat because of the Anish Kapoor exhibition, 10 new ‘mirror’ works, in their gallery next door to the house, which itself is a peach of classical architecture and design. To justify the long schlep West, I also visited the Heath Robinson Museum in Pinner, also a double treat with a small exhibition of Tim Lewis’ automata, Post Nature, alongside the small permanent exhibition of Heath Robinson’s work and displays about him and his family.

My companion described the V&A’s Food: Bigger than the Plate exhibition as a bit like a school project. It certainly started out like that, but there were interesting sections on recycling and sustainability, a terrific silent movie showing mass food production and a tasting bar where they made you something on the basis of the three words you chose from the fifteen available, so worth a visit, if not wholly successful.

A fascinating triple bill at Tate Modern, starting with the playful Olafur Eliasson retrospective In Real Life. Coloured shadows, a 13 metre tunnel of haze and colour, a wall of lichen and all sorts of reflective stuff. Great fun. Natalia Goncharova’s retrospective proved how diverse her paintings are, both in terms of style and subject, and how beautiful her use of colour. The ballet sets and costumes were a bonus. Takis: Sculptor of Magnetism, Light & Sound was just that, mostly metal pieces that moved or made sounds which I liked more than I thought I was going to. All three added up to a bit of a quirky art fest.

I went into town to take in two exhibitions, but as is often the case walking between galleries in Mayfair leads you into others – sometimes successfully, sometimes not. My first planned destination was Gagosian for Francis Bacon: Couplings, fourteen double-figure paintings. I felt it was just more Bacon, with the curatorial coupling idea adding nothing. The first distraction, at Halcyon, was Bob Dylan’s surprisingly good paintings of American life, painted whilst on tour. I’m sure they wouldn’t get such a showcase if he wasn’t Bob Dylan, but he is a talented painter. The less said about his gates made of recycled iron items the better, though. At Camden Arts Centre’s pop-up in Cork Street, I wandered into Time Out recommended Wong Ping: Heart Digger, which is a combination of subtitled Chinese animations and inflatables; I yawned a lot, but the youngsters seemed to enjoy bouncing on the inflatables. Art. My second planned destination was the treat of the day. Finnish artist Helene Schjerfbeck (1862-1946) is virtually unknown here, but when you see her sixty-five pictures at the Royal Academy you can’t help wondering why. Perhaps the fact her work changed and evolved meant she didn’t have one style, at a time when artists were known for and by their style. Mostly portraits, including a whole room of seventeen self-portraits spanning sixty years of both her ageing and her art, I found it captivating. Popping into Pace, a commercial gallery in the RA building, passed five minutes just by the walk through, as there was little need to stop and look at the mainly white ‘abstractions’ of At the Edge of Things: Baer, Corse, Martin, three artists I don’t think I’ve seen before and have little desire to see again.

I’d never heard of the BJP (British Journal of Photography) Award, or been to the T J Boulting Gallery in Fitzrovia, and it was Time Out again that sent me to see this year’s winning project, Jack Latham’s Parliament of Owls. It tells the story of the highly secretive Bohemian Club’s summer camp in Northern California, through photos from the outside. Its members have included nine presidents – five republican ones from the last fifty years! – and it’s a magnet for conspiracy theorists. The photos are well taken ones of dull places and subjects, but I did get caught up in the story.

At the Serpentine Galleries, the Faith Ringgold retrospective was a brilliantly uncompromising selection of paintings, quilts and embroideries which seemed to shout ‘black lives matter’, even though most were made well before that phrase came into general use. Luchita Hurtado: I Live I Die I Will Be Reborn was less fascinating, but with enough interesting pictures to make the short detour worthwhile

The annual Freize open air sculpture show in Regent’s Park was way better than last year, with quite a lot of treats amongst its 20 or so sculptures. Particularly enjoyable on a sunny afternoon in the park.

I’ve seen a lot of Dale Chihuly‘s glass works in the US (Denver, Tacoma & Seattle), at a selling exhibition in London, and once before at Kew Gardens. This time, though, it was at night walking through the gardens and in one of the greenhouses, where live music accompanied them. A lovely experience, though now I need to see them in daylight to appreciate the difference. A great way to end my summer of art in London.

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This one month / 3000 mile trip started in Denver on 1st September and it’s now the half-way point and I’m in Helena, the capital of Montana, the 4th largest state by area but the 44th by population. Walking around the deserted city (pop 28k!) on a Saturday afternoon was proof enough of the state’s low density. I’ve already driven 2500 miles, so it will come in way over 3000! Anyway, here’s a resume of the first part. I’ve tried inserting photos but the iPad doesn’t seem to want to, so you’ll have to wait until my return or look at my daily tweets http://www.twitter.com/TootingGareth…..

Denver is a delightful city and exceeded my expectations. For a mid-West Colorado city, it’s sophisticated and cool with great art and food. My B&B was an old mansion located right in the Civic Centre and the owner made spectacular & original breakfast dishes and provided excellent restaurant recommendations. The Art Museum, with its new Daniel Libeskind wing, is one of the world’s greatest; in addition to an unrivalled collection of Western US art, there were four temporary exhibitions and I had to drag myself away. Over in the Botanical Garden, glass sculptor Dale Chihuly has scattered his works amongst the flora and fauna, as he did at Kew but with more water here it was more effective. He comes from Seattle so a stop at his museum is a must later in the trip.  When you’re in a State capital, a visit to its Capitol building is a must. They all seem to have the same shape, modelled on the US Capitol, but each has its own decorative spin and Colorado’s was a fine example. My second day was spent in the Rocky Mountain National Park which was a thrilling introduction to my 16 days in the mountains, though when I got to have lunch at 12,000 ft I was feeling a bit light-headed. I’d have liked another night in mile high Denver (and high in another sense now that marijuana is legal and sold in all sorts of forms on main street!).

The first part of the journey to Durango, 350 miles south-west, was a bit dull, following the highway to get some distance behind me. Then a stop at the Great Sand Dunes National Park brought the first scenic spectacle (sand dunes in The Rockies!) and the rest of the journey through the San Juan mountain range was lovely. Durango is a bit touristy, and the food a disappointment after Denver, but The General Palmer Hotel was a pleasant period piece and I had selected Durango anyway as a base for two trips, the first of which was to Mesa Verde NP. The landscape of canyon and table (mesa) isn’t the main reason for visiting it; its the remnants of 3300-year-old settlements, abandoned mysteriously 700 years ago. The first settlers occupied the mesa (table) top, but they later moved to precarious buildings built into the cliffside (security?). A fascinating trip. The second trip was a ride on the Durango-Silverton narrow gauge steam railroad, first built in the late 19th century, when silver was mined at one end and transported to the other. It isn’t much more than 50 miles, but at 13mph rising 3000 ft in the Rockies, it takes 3.5 hours! I chose to ride it both ways in the more comfortable period car with external platform and hostess service, which was a great choice as it was spectacular but also very sociable. A treat.

I started early on the 400-mile trip to Salt Lake City when I discovered both Arches and Canyonlands NPs were en route, thinking I’d make a stop at one.  Arches was like a moonscape, acres of red stone of all shapes and sizes (only some of which form arches) scattered amongst the desert landscape. I decided I had enough time to take a look at neighbouring Canyonlands , but wasn’t expecting to be quite so blown away by the vast expanse of canyons that take your breath away as soon as you set eyes on them when you walk to the edge of the tableland. I stayed so long I arrived late in Salt Lake City, having to navigate myself to my B&B in the dark and miss dinner!

SLC was as much of a break in the journey as anything else, but it was a pleasant surprise. Another nice B&B, this time in an Arts & Crafts building near the Capitol called Inn on the Hill, and a return to more sophisticated city food courtesy of the recommendations of a man from Portland also staying at the Denver B&B! The Mormon religion pervades everything in the city, the heart of which is Temple Square, containing a somewhat kitsch temple (which you can’t enter) and a host of other church buildings, the best of which was a reused ornate grand hotel (which in all fairness they had restored beautifully). ‘Sisters’ from Tuvalu, The Philippines etc do their missionary work offering to help you find your way around the square but it’s fairly innocuous. US ‘elders’ running tours of buildings are more hardcore though, pushing some – including me – over the edge with tales of Jesus’ visit to the US in biblical times. When a Dutch lady commented on a wall of pictures of former ‘prophets’ and ‘disciples’, all men, he got very defensive, making things worse by saying women have their place, just not in church leadership! On my second day I ventured to the lake which gives the city its name and was surprised they didn’t make more of it. It’s still and rather eerie.

The next journey, to Yellowstone, was much longer than its 400 miles because it was so scenic that I kept stopping to take it all in and photograph it. It took me from Utah to Montana, through a bit of Idaho and a lot of Wyoming! After another dull start on the interstate highway, I headed into Logan Canyon where autumn colours were already evident and made me excited about what might come later. The drive above and past Bear Lake provided yet more stunning views and then I entered Grand Teton NP, where the snow-capped mountains and glaciers followed me all the way to the entrance to Yellowstone. This is where things turned a bit rustic on the lodging and gastronomic front. I’d been unable to get into any of the park lodges six months ago, so ended up just outside in West Yellowstone, a somewhat downmarket tourist trap just by the entrance, in a 100-year-old hotel made of logs surrounded by ‘restaurants’ offering a choice of burgers, pizzas, Chinese, burgers, pizzas…. Its the scale and diversity of scenery that surprises you at Yellowstone. 1m acres of mountains valleys meadows & canyons, rivers waterfalls lakes cascades & streams, and all sorts of thermal activity. It’s 100 miles north to south and 80 miles east to west and in 2.5 days I hardly touched the surface, but it was indeed spectacular.

Another lovely journey, though less than 200 miles this time, through agricultural valleys between the mountains, with a breakfast stop in Ennis, an archetypal small town with an archetypal diner, took me to Helena, Montana’s capital. I’m breaking my B&B policy here as both were fully booked (!), but after rustic West Yellowstone, it’s actually rather comfortable in a chain hotel! Helena is a delightful town, with a ‘mansion district’ of 19th century homes including the original governor’ s house, a Capitol that punches way above its weight, a spectacular neo-gothic cathedral with more stained glass and gold leaf than a handful of normal churches and a main street called Last Chance Gulch! The main reason for this stop, though, was a river trip on the Missouri through a canyon. It was named Gates of the Mountains by the 1805 Lewis & Clark expedition launched by President Jefferson just after the Louisiana Purchase, the land Napoleon sold. It was (another) glorious day and yet another scenic treat.

So tomorrow it’s another 400 mile trip to Glacier NP, close to the Canadian border and as far north as I go before heading west into Oregon & Washington. Can it possibly be  as good as the first half? To be continued…..

 

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Contemporary Music

I so wish John Grant hadn’t started dabbling in electronica, because even his older songs are now all beginning to sound the same. Without it, the songs shine and the voice soars and much of his Roundhouse concert was stunning, but some of it was annoyingly dated 80’s electromush! Icelandic support act Samaris had two Biorkesque female voices but a similar electronica background which grated on me, I’m afraid.

Classical Music

Going to see Daniel (younger brother of Henry) Purcell’s The Judgement of Paris at St. John’s Concert Hall was a bit of a punt but worth the effort. It was written for the composer X-Factor of its day with four others in contention, using the same William Congreve libretto. It’s one of the first operas written, though not a particularly good one, telling the story of Paris’ goddess beauty parade to select a wife, but the five soloists, Spiritato orchestral ensemble & Rodolfus Choir under Julian Perkins did it full justice.

I like early music and have heard Rameau works before, but didn’t know much about Les Indes Galantes. It was an extraordinary ‘opera’ with five loosely connected ‘courses’ set on an Indian Ocean island, the Peru of the Incas and with Native Americans, amongst others. Each story was told quite quickly, followed by longer musical ‘interludes’. It was a long evening at the Barbican, but it was all beautifully played and sung by six soloists, ensemble Les Talens Lyriques and the Chorus of Opera National de Bordeaux under Christophe Rousset.

A lunchtime freebie at the Royal Academy of Music turned out to be a real treat. Sir Mark Elder led their Chamber Orchestra (seemed a bit big for that title to me!) in a programme of Verdi overtures and preludes, with a bonus aria from Dennis O’Neill no less, and an informative and entertaining commentary from the conductor. The orchestra sounded so much more than conservatoire students and were often thrilling, just like they were for Edward Gardiner last year.

The second of Lucy Parham’s composer portraits at St. John’s Concert Hall, Odyssey of Love, focused on Liszt. It was a little lighter than the previous one, with Martin Jarvis and Joanna David bringing some humour to the tales of his sex life, but just as fascinating and a superb introduction to a composer I know little of. Now I can’t wait for the next two in the autumn.

Imagine a school tackling Verdi’s Requiem! Well, it was Harrow, and the soloists were professional, and they were supplemented by adults. You will hear more technically perfect performances, but may not hear a more rousing & powerful one. The bass drummer was so passionate his huge instrument came close to falling onto a horn player! The Speech Room of Harrow School was grand enough for the occasion but small enough to make you jump. Great stuff.

Opera

I’ve liked the other three Jonathan Dove operas I’ve seen, but I absolutely adored The Adventures of Pinocchio. It’s a bit of a stretch at almost three hours, but it’s hard to see where it could be cut. At GSMD, it’s given a brilliantly inventive production by director Martin Lloyd-Evans and designer Dick Bird and the musical standards achieved by Dominic Wheeler are nothing short of astonishing. The chorus was the best I’ve heard it and there were a whole load of great performances, with Marta Fontanals-Simmons a simply stunning Pinocchio. Watch out for her; she’s going to be huge.

A very welcome initiative by Aldeburgh Music, Opera North and the Royal Opera brings us a pair of new operas, The Commission / Café Kafka. I admired them, but they didn’t entertain me and it made me realize that’s what’s wrong with a lot of modern opera – it aims to impress more than to entertain and composers and writers would do well to consider that. Café Kafka succeeded more than The Commission, and both were well played, sung and staged – but not entertaining enough!

Ariodante at The Royal Academy of Music was simple, modern and elegant with fine playing under Jane Glover no less and some lovely singing. This is one of my favourite Handel operas and they did it full justice.

Art

United Visual Artists provided the Barbican Curve space with one of it’s best installations with Rain Room where it stopped as you walked under it; now they’ve done it again with Momentum, using moving light to create images and shadows on the gallery walls, floor and roof. Another hugely imaginative use of the space.

Glass maker Dale Chihuly is back with another selling show at the Halcyon Gallery only a couple of years after the last. It all seemed more organic – lots of curvy bowls within bowls – but with the trademarks of scale and colour. I discovered he’s opened a museum in his home town Seattle, where I will be later in the year, so that’s clearly going to be a must. Down the road, the Pace Gallery were showing four of James Turrell’s light works but they seemed more of the same to me. Moving on to the Royal Academy for Sensing Spaces: Architecture Reimagined where seven international practices (none of them British!) have created giant, mostly room filling, installations. As much as I admired them, I couldn’t help thinking they didn’t really justify the energy and expense that had been invested in them. Still, it was a rare foray into architecture for the RA and to be welcomed for that.

Soon after I entered Body Language at the Saatchi Gallery, I felt like I was at an end of term school art show. It got better, as did New Order: British Art Today upstairs, and it was good to see more painting than sculpture and installation for a change, but so much of it seemed derivative. I think I might have to give up on modern art.

After the first few rooms, I didn’t think I was going to like the Richard Hamilton retrospective at Tate Modern, but it rather grew on me as the work got better. I’m not sure I’ve ever been to a show so eclectic by a single artist; is there anything he didn’t have a go at?!

I very much enjoyed Vikings : Life & Legend at the British Museum. The exhibits aren’t exactly spectacular, but the story they tell is. I was amazed how far they travelled, all by boat (Nova Scotia & Uzbekistan!), and how the simplicity of their design has continued to modern-day Scandinavia. Beautifully curated, with a recreated long boat and all the Lewis Chessmen.

Film

The Grand Budapest Hotel had a great trailer, but turns out to be just a good film, which is probably a good lesson in overselling. It is quirky and funny and Ralph Fiennes is a revelation in a larger-than-life comic role, but the trailer meant it left me a little disappointed.

As much as I admired the cinematography, I didn’t really understand Under the Skin so I didn’t get much out of it. I admired the fact that ordinary people were filmed, then asked if they minded being in it, but that wasn’t enough to make it worth seeing.

Starred Up was sometimes difficult to watch, but it’s a brilliant film exposing the damage prisons can do and the hopelessness they perpetuate. Jack O’Connell’s small screen debut in Skins was impressive; here he is simply stunning. Unmissable.

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Contemporary Music

It’s hard to write about the Paul McCartney concert at the O2 without downloading a complete thesaurus of superlatives. It was the sixth time I’d seen him in the 21 years he’s been performing live with Wings or solo, and the third in as many years. It was at least as good as all the others – amazing visuals, brilliant sound, 2.75 unbroken hours containing 41 songs (including 27 Beatles songs, two getting their UK live premiere 46 years after their recording!). I sang, swayed, danced and cried. Absolute magic.

Opera, Dance & Classical Music

The ENO’s Castor & Pollux sounded as good as it looked dreadful. Rameau’s music is different to his contemporaries – just as crisp and clean, but with less frilly stuff! Sadly, the white box-modern dress-piles of earth-running around-inexplicable nudity production meant it was a lot better with your eyes closed. The singing of Allan Clayton, Roderick Williams, Sophie Bevan and Laura Tatulescu was lovely though – and the orchestra under Christian Curnyn sounded gorgeous.

Undance at Sadler’s Wells was an intriguing prospect – a double-bill of opera and dance as a collaboration between composer Mark-Anthony Turnage, artist Mark Wallinger and choreographer Wayne McGregor. The opera, Twice Through the Heart, was in fact a monodrama / song cycle about an abused woman who murders her husband. Favourite Sarah Connolly sang beautifully ‘inside’ 3D projections (we were given glasses on the way in!). It was a bit inaccessible on first hearing, but interesting and well executed nonetheless. Undance itself was based on the 19th century ‘motion photography’ of Eadweard Muybridge with projections behind the dancers, one mirroring the other. It was clever and intriguing, but felt like it should be a third of a triple bill rather than a pairing with a mini-opera. I didn’t dislike the evening, but somehow it felt like a couple of snacks rather than a full meal.

The Bizet Double-Bill at The Royal College of Music was a fascinating affair. Djamileh, an ‘opera comique’ had few laughs and inexplicably lost its happy ending to a murder, but the sound was unquestionably Bizet. Chinese tenor Lei Xu and British soprano Katherine Crompton sounded beautiful, as did the orchestra under Michael Rosewell. Le Docteur Miracle was certainly played for laughs, but also ended with a death Bizet didn’t (I think) write. In a veritable United Nations of casting, the singing of the girls – South African Filipa van Eck and Anastasia Prokofieva (guess where she’s from!)  – was great and the acting of Israeli  Pnini Grubner and homegrown Oliver Clarke equally good. A delightful evening.

Offenbach operettas are hardly subtle, but Scottish Opera’s touring production at the Young Vic removed any subtlety Orpheus in the Underworld did have. Everyone was trying so hard, particularly Rory Bremner’s libretto, squeezing in as many contemporary satirical references as he could think of, and the performers exaggerating every move and expression until it seems Am Dram. There was some good singing and the solitary pianist played the score well, but I felt like they were relentlessly beating me on the head with a newspaper (as one character did actually do to another at one point). Having said that, I admire them for touring small-scale opera to 33 venues in Scotland and Northern Ireland including artistic black holes like Stornoway and Lerwick, but why come to London with this? It made me yearn for a revival of ENO’s production with Gerald Scarfe’s extraordinary designs.

The BBC Symphony Orchestra’s concert at the Barbican was terrific. They combined Walton’s cantata Belshazzar’s Feast with Sibelius’ suite from the music of a play on the same subject and added in some Sibelius songs and Britten’s Sinfonia da Requiem. Edward Gardner is now in the conducting premiere league and his interpretations here were thrilling. The chorus sounded great in the Walton and soloist Gerald Finlay great in both the Walton and the Sibelius sons. For once, the audience didn’t hold back the cheers; a cracker.

The LSO is an orchestra at the height of its powers. The Monteverdi Choir is one of the world’s best. Sir John Elliott Gardiner is in the premiere league of conducting. Even so, their concert of Beethoven’s 1st and 9th Symphonies was even more of a treat than I was expecting. The soloists don’t get to do much in the 9th, but they did it well. The chorus soared and the orchestra thrilled. Possibly the best in a lifetime of 9th’s

Back at Wigmore Hall there was a lovely concert pairing the 16th century songs of John Dowland with those of the 20th century composers he influenced – Peter Warlock and Ivor Gurney – with singers Ian Bostridge, Sophie Daneman and Mark Stone accompanied by lute, piano, flute, cor anglais & string quartet in various combinations. I could have done without the cheesy German Christmas encore with children’s pageant that followed a rather lovely evening of English song.

Magical Night at the Linbury Studio was the British premiere of a Kurt Weil ‘kinderpantomime’ choreographed by Aletta Collins, who has created a simple story of toys that come alive in the kid’s bedroom at night (heard that before?!). It was the Weill that was the attraction for me and it was interesting but hardly thrilling. The dance was OK, but the whole show was a bit of a disappointment overall.

Art

I was drawn to Painting Canada at Dulwich Gallery by its poster, as I often am by poster images. Sometimes the poster doesn’t properly represent the content of the exhibition (take note, Tate!) but on this occasion it does. It’s a beautiful exhibition of 122 paintings and oil sketches by the ‘Group of Seven’ Canadian artists from the early 20th Century. I’m not sure I’ve ever been to such a cohesive and consistently good exhibition of paintings. They’re virtually all landscapes, the colours are vivid and they show off (probably flatter) Canada brilliantly. Gorgeous.

Glass-maker Dale Chihuly is best known in the UK for the enormous ‘chandelier’ which dominates the V&A entrance. We were lucky to have a major exhibition of his work at Kew Gardens some years ago, but that’s about my only exposure to his work. Halcyon Gallery now has a brilliant selling exhibition which is surprisingly large and has a long 3-month run. The 57 works are well exhibited and beautifully lit. The only downside was the prices – from £11.5k to £700k; just a little beyond my art budget!

The annual Landscape Photography exhibition in the NT Lyttleton circle foyer is as good as ever; though guarantee to make mere mortal photographers like me feel totally inadequate! There are so many lovely photos here, I had to go round twice to take them all in.

I was initially disappointed by the V&A Friends visit to William Morris’ former home – Kelmscott House in Hammersmith – when I discovered we were only going to see the small basement museum (the rest is now a family home again). However, the curator brought out a lot of fascinating items, like original artwork for wallpaper and fabrics, and added some interesting historical facts to make it worthwhile in the end.

Down in Surrey, a feast of the work of another Arts & Crafts couple – George & Mary Watts – was to be had at the Watts Gallery and nearby chapel. He’s an underrated player in this movement’s game and it was great to see so many of his paintings in one place. The beautifully decorated round chapel (inside and out) by his wife on a nearby hill was an unexpected bonus despite the fading light.

It has taken me 21 months to get round to seeing WildWorks ‘Enchanted Palace’, which is occupying 15 rooms of Kensington Palace during their renovations. There were only 4 days to go, so off I went and boy was I glad I did. They tell the story of seven of the princesses who lived there by installations, light, sound, story books and cards and actors. it’s sometimes mysterious, sometimes playful, often beautiful and always captivating. I now can’t wait for their Babel in Battersea Park in 2012. 

Film

I adored My Week With Marilyn. It was funny and moving, littered with a who’s who of great British actors. Kenneth Branagh does a terrific turn as Laurence Olivier and Michelle Williams is uncanny as Marilyn, but for me it was Eddie Redmayne’s movie – he’s as mesmerizing on film as he is on stage, proven yet again by his Richard II less than 2 weeks later.

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