Exhibitions for Expotitions — July Update

I used to maintain a list of exhibitions, because I kept missing stuff. I’ve recreated  this, as it went out of date, and obviously this takes time. I’m based in the south-east UK so, with the exception of Dublin, Edinburgh, Glasgow and Tate St Ives, it’s stuff I can do in a day trip (unless I want to make an exception). I can’t pretend to completist (especially now I’m rebuilding) but let me know of stuff I’ve missed and I may add.

Information is presented in good faith — check opening days/hours before travelling and whether stuff is free.

I recommend the National Art Pass for discount — this and Tate/Royal Academy membership pay for themselves if London is getatable.

[Still to add: BALTIC 39, Courtauld Gallery,  Museum of London, Museum of London Docklands, National Museum of Wales, New Art Gallery, Norwich Castle Museum, Strawberry Hill House, The New Art Gallery, Towner, among others]

A longer list is here — andrewmbutler.blog/exhibitions-for-expotitions-updated-11-june-2019/ — and I will add an alphabetical listing. If I could teach myself mail merge, this would be easier (it Americanises dates).

 

Closes July 2019

 

 

Exhibitions for Expotitions — 11 June 2019 Update

I used to maintain a list of exhibitions, because I kept missing stuff. I’m recreating this, as it went out of date. I’m based in the south-east UK so, with the exception of Dublin, Edinburgh, Glasgow and Tate St Ives, it’s stuff I can do in a day trip (unless I want to make an exception). I can’t pretend to completist (especially now I’m rebuilding) but let me know of stuff I’ve missed and I may add.

Information is presented in good faith — check opening days/hours before travelling and whether stuff is free.

I recommend the National Art Pass for discount — this and Tate/Royal Academy membership pay for themselves if London is getatable.

[Still to add: BALTIC 39, Courtauld Gallery, Fitzwilliam Museum, Foundling Museum, Gagosian Britannia Street, Gagosian Davies Street, Gagosian Grosvenor Hill, Henry Moore Institute, Hepworth, Herbert, IKON, Jerwood Gallery, Kettle’s Yard, Leeds Art Gallery, Manchester Art Gallery, Modern Art, Modern Art Oxford, Edinburgh Modern One, Edinburgh Modern Two, Museum of London, Museum of London Docklands, National Galleries of Scotland, National Media Museum, National Museum of Wales, National Portrait Gallery, New Art Gallery, Norwich Castle Museum, Nottingham Contemporary, Nottingham Lakeside Arts, Pallant House, Photographers’ Gallery, Queen’s Gallery, Holyrood, Queen’s Gallery, Buckingham Palace, RAA, Royal Pavilion, Science Museum, Scottish National Portrait Gallery, Somerset House, Strawberry Hill House, The New Art Gallery, Towner, Turner Contemporary, Victoria and Albert, White Cube Bermondsey, White Cube Mason’s Yard, Whitechapel Gallery, Whitworth Art Gallery, Yorkshire Sculpture Park.]

Closes June 2019

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Etches at an Exhibition

Edvard Munch, Love and Angst (British Museum)

img_7864This is a slice of Edvard Munch’s career — one of my top five favourite Norwegian artists — between about 1890 and 1910, which perhaps doesn’t make sense without knowing the rest of his career. For a start, there is a Norwegian habit of repeating the same motif in a way I’ve not seen with other artists other than Picasso. Munch has several paintings of Puberty or The Vampire, for example, and this raises questions about whether he is obsessively exploring a theme, seeking out the perfect version, displaying artistic unity or exploiting the design for maximum revenue. Or all of the above.

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Consenting Adults

Life in Motion: Egon Schiele/Francesca Woodman (Liverpool Tate, 24 May-20 September 2018)

A couple of years ago, there was an exhibition called Schiele’s Women at the Courtauld, and I swear that I wrote it up, as Schiele’s Sheilas (yes, I know), but fortunately or unfortunately I can’t find my notes. I think I bought the catalogue. But even without that I would have made the trip to the Pool to see one of their paired exhibitions— like Bacon and Lassnig or Klein and Krasiński where sometimes the pairings work and sometimes they don’t. Like whoever it was with Leonora Carrington.
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Figuring It Out

Face to Face: The Figurative Sculpture of Sean Henry (The Lightbox, Woking, 12 August-5 November 2017)

I first knowingly encountered the sculptures of Sean Henry on a day trip to Newbiggin by the Sea with the Aged P. Faced with the problem of being a north eastern coastal town — and the last pub before Norway not being necessary nor sufficient — they turned to Art and commissioned a giant double statue, Couple, to be placed in the bay, an implicit answer to whatever question was being asked by a certain northern angel.

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HisWorld and Welcome to It

Terry Pratchett: HisWorld (Salisbury Museum, 16 September 2017–13 January 2018)

I’m always a little agnostic when it comes to exhibitions about writers. What is there to show? There was a little confusion when I was writing a critical book about an author as to whether I was writing a biography, and his agent contacted me with the reasonable objection that I hadn’t talked to anyone he knew. I corrected the confusion, but not before the author asserted that he wouldn’t object to a biography.

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Meh Fetishism

Seeing three exhibitions in one day was a mistake, but two were about to end and the third was next door to the first so I booked slots for Their Mortal Remains and Into the Unknown and shouted at the Science Museum website for not having the complete list of tickets. I allowed about two hours for the first — not enough as it happens — and booked at five for the the Barbican, which would give me an hour to do Robots and an hour to get across London.

I reckoned without the Victoria and Albert Museum’s crappy signage — it would be helpful to know the toilet is on a staircase and not easier accessed — and the Science Museum’s layout — the main lifts are out of action and you have to navigate around the block from lift B to the exhibition (not that lift B is obviously signed from what I assume are Lifts A and none of them have labels).

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