October is a busy time for art lovers (and haters) in London, as hundreds of shows and events happen at more-or-less the same time and a super human effort is needed to see even a small percentage of them. I tried that last year; it was just too much. This year I have seen less but enjoyed it more. My highlights are below...
The problem with Emin's statements is that they propagate damaging myths: about what it is to be an artist, a mother, a woman. And as Virginia Woolf tells us, it far harder to kill a phantom than a reality. It's like looking for nits, or searching for proof for jealousy: resolution can only be reached by discovering what we don't want to be true and in the absence of that we are condemned to continue the search.
In this first ever retrospective of Kazimir Malevich's work for almost 25 years, the Tate Modern has brought together a stunning collection of his work that offers not just an expansive view of this influential Russian artist's career - but also puts into context how radical and revolutionary Malevich was.
Tate Modern's major exhibition, Henri Matisse: The Cut-Outs, is the most comprehensive exhibition ever devoted to the artist's paper cut-outs. It brings together around 130 works, many seen together for the first time, in a ground-breaking reassessment of Matisse's colourful and innovative final works.
Flying 24,000 miles in two weeks is a bit much. But well worth it! First, I raced back to London for the opening of the latest, really spectacular show at the Fashion and Textile Museum. The exhibition was opened by none other than Sir Nicholas Serota, Tate Director and one of the most important and influential people in art.
As I was sitting at the Buying Committee of the Tate Modern, my eyes were arrested in awe and also complete ignorance by a piece from an artist I did not know about, Monir Shahroudy Farmanfarmaian. I was struck by the strength of her art. The fact that she is a woman working in Iran, in her 80s, made her even more striking.