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Eco Exhibitions Won’t Save Us

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Source: ArtReview

Artists and institutions seem content to merely ‘address’, ‘engage with’ or ‘respond to’ the climate crisis. It’s time for a concerted shift towards action

Exhibitions of art about ecology have been sprouting up everywhere, usually operating under some premise of ‘raising awareness’ for the climate crisis. The Hayward Gallery – with their ongoing exhibition, Dear Earth: Art and Hope in a Time of Crisis – is just one recent example of many institutions, in London alone, that have rushed to stage ecocritical shows over the last few years: the Serpentine has an ongoing programme called General Ecology via which they stage related exhibitions like Back to Earth (2022); the Barbican Art Gallery’s Our Time on Earth (2022); various exhibitions at Tate, among them A Clearing in the Forest (2022); The Photographers’ Gallery’s When I image the earth, I imagine another (2021); Somerset House’s We Are History (2021); or the Royal Academy’s Eco-Visionaries (2019). Countless others have been staged around the world: a random sampling might include Simbiología: Prácticas Artísticas en un Planeta en Emergencia (Centro Cultural Kirchner, Buenos Aires, 2021); Adaptation: A Reconnected Earth (MCAD Manila, 2023); and Our Ecology (Mori Art Museum, Tokyo, autumn 2023). And that really is to name just a few. While these exhibitions do doubtlessly have the potential to inform ideological narratives surrounding the ecological crisis, they can so often feel futile in the face of real environmental devastation.

Read more: https://artreview.com/ecocritical-art-hayward-dear-earth-climate-crisis-exhibition/

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Transcript: How to develop your taste in art, with critic Ariella Budick

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Source: Financial Times

The US art critic Ariella Budick is one of my favourite explainers at the Financial Times. I often look up her art reviews after I’ve seen a show at a museum in New York, as I’m trying to form my own opinion on it. Ariella’s reviews do a few things. They place the artist in context. They consider whether the exhibit did them justice. They cover a huge variety of shows across time periods and the world, and they often make me laugh a lot. Recently, she wrote a scathing review of a video art exhibition at the Museum of Modern Art by the artist Joan Jonas, and in it she wrote that the show was like walking a puppy. You’re curious about every leaf, but in the end you just, quote, spend an eternity nosing the same unpromising patch of sidewalk. Ariella is with me to talk about the craft of being an art critic and how we can be more adventurous and trust our judgment when it comes to art. Ariella, hi. Welcome to the show.

Read more: https://www.ft.com/content/84d96d7d-2b33-4474-ac4c-0003ae36c2b1

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Urban Aboriginal art takes centre stage at the 2024 Sydney Biennale

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Source: Financial Times

Search for the origins of contemporary Indigenous art in Australia and the answer is surprisingly specific: the Northern Territory town of Papunya, c1971, with a depiction of the Honey Ant Dreaming ancestral tale in a large-scale mural. This was the birth of “dot painting”, the reproduction on paper or canvas of traditional styles of sand and body ceremonial art, and it brought global fame to artists such as Clifford Possum Tjapaltjarri and Kaapa Tjampitjinpa.

In the minds of many outside Australia, Aboriginal art, both old and new, is linked to remote areas of the country. Yet contemporary Indigenous art has always had an urban side, most notably in Queensland art schools in the 1980s, where students included Tracey Moffatt, who became the first Indigenous artist to represent Australia in a solo show at the Venice Biennale, and the brilliant Gordon Bennett, who skewered colonial history by appropriating large chunks of western art.

Read more: https://www.ft.com/content/d819b351-4e98-4ee8-978e-3916bcf2baf8#comments-anchor

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Study for portrait Winston Churchill disliked goes on show at his old home

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Source: The Guardian

An intimate study of Winston Churchill that has been in private hands for seven decades has gone on show in the room at Blenheim Palace in which Britain’s most famous prime minister was born, before being auctioned in June.

It was the work of Graham Sutherland, one of the most highly regarded artists of his time. Sutherland was commissioned to paint Churchill by the Houses of Parliament to mark the wartime leader’s 80th birthday in November 1954.

Read More: https://www.theguardian.com/uk-news/2024/apr/16/study-winston-churchill-portrait-disliked-auction-graham-sutherland

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