Have you booked your ticket for Henri Matisse: The Cut-Outs yet? Do go, I grumbled a bit about the £18 ticket price but someone pointed out to me that the rest of the museum is free, which I guess is a very good point.
Anyway I couldn’t not share this gem from the Tate, who rocked up at Iris Apfel’s house to film her Matisse-inspired wardrobe. As she says, anyone who works with colour has to have been inspired by Matisse – how could they not?
If you want a life affirming experience, tear yourself away from the computer and get thee to Henri Matisse: The Cut-Outs at Tate Modern. Comprising around 120 of Matisse’s fragile paper works, this is the first time this many of the iconic cut-outs have been shown together. The opportunity has not been wasted, with the works displayed in airy rooms that give ample space to these energetic and colourful pieces. (more…)
Yikes, where is the time going? This week is the last chance to see Lichtenstein – A Retrospective at Tate Modern and I managed to get my eye in fashionably late last week. If you love his classic dot artworks, this is a chance to see them in huge scale which is really not to be missed. Most people are familiar with the War and Romance era, the comic-book style ‘WHAMM!’s and melodramatic close-ups of women in distress. (more…)
William Klein + Daido Moriyama is possibly the best thing I’ve seen all year. Comparing and contrasting both photographers’ approaches to street life in New York and Tokyo, it instantly appealed to my love of graphics and energy in documentary photography. Years ago I saw a Garry Winogrand exhibition at The Hayward and I still vividly remember those in-yer-face compositions of life in New York. Some of these reminded me of those.
The exhibition space is a layout of vast, high ceiling-ed rooms that give breathing space to the biggest and most dramatic Klein artworks (he often mashed up photography and art by sploshing paint around the borders of the image or across the image itself for even greater impact). Like his wide-angle compositions that put you in the midst of the action, the design of the exhibition repeats Klein’s sense of big city chaos. Framed photos are densely ordered row on row, depicting the busyness and character of Rome, Moscow, Tokyo and New York. Also integral are the photo books on display by both Klein and Moriyama, many on loan from Martin Parr’s extensive collection.
Moriyama’s work is less punchy and more detached than Klein’s, with greyer, grainier portraits of Tokyo and New York street life. They didn’t have such an immediate impact for me but I loved the room of Polaroid montages towards the end. The exhibition is on at Tate Modern until 20th January and I highly recommend going on a Friday evening to avoid the weekend crowds.