On first sight, it seems like the writ-large example of how women's arts are shunted to one side and underfunded, subject to an endless dialing-down of ambition until they become a weak distallate of their original intentions.
Auguste Rodin, in the Tate Modern's The Making of Rodin exhibition, is presented as a barrier-breaker himself, which I'm not wholly convinced by.
The day before I went to the Barbican Gallery's "Masculinities: Liberation Through Photography" exhibition, I underwent the strenuous business of finding Westminster City Hall--not easy, when Google Maps insists this is either on South Bank by Westminster Bridge, where the ignoble "Shrek Adventure" is, or in Marylebone, rather than where it actually is, at 64 … Continue reading Delicate, emotional, and complex: Masculinity for the 21st Century?
Or rather, how not to make an exhibition of one painting, particularly an exhibition with a £20 entry fee, of a painting which is usually available to view for free in the gallery, and is not a loan or recent acquisition. The Virgin on the Rocks: And Nothing But The exhibition space is arranged around a … Continue reading The Virgin on the Rocks: How To Make An Exhibition Of One Painting