Taking Up Space, the debut solo exhibition by the emerging British artist EmilyMulenga at Firstsite, Colchester, features a series of Mulenga’s video works as well animated GIFS and personalised emojis – or in the artist’s terms – MulengaMojis.
Mulenga uses her own image within her work to assert ownership over the way it is viewed online. Through her works, Mulenga positions her filmed self or animated avatar in vivid virtual environments. The title of the exhibition, Taking Up Space, refers to the way in which the physical or digital body can be a productive and positive site of artistic investigation.
Opening this weekend on Saturday 17th June at Firstsite, Colchester (private view tonight from 6-9pm!) is Ed Gold: Other Worlds, a compelling presentation of 100 photographs by the social documentary photographer taken over the past 30 years during his time spent living in various isolated communities across the globe. There are five bodies of work by Ed being shown in the retrospective: Patagonia, Country Folk (Essex, Wales & Scotland), Afghanistan Bed Spaces, Positive Futures and Nowitna and each series is an in-depth look at what it really is like to be a part of those communities.
M’Hula Crew, Country Folk, 1999, Digital print, Dimensions variable
From 20th May, the De La Warr Pavilion will present Safari: An exhibition as expedition, an anthology of works by the British artist, Simon Patterson.
Interspersed throughout the gallery space and hence taking the viewers on their own mini safari, the works on view will span a quarter century of Patterson’s career and feature wall drawings, sculpture, prints, photographs video and installation, as well as a public intervention, a site-specific commission and on opening day, a staged sea battle in collaboration with Bexhill Sailing Club!
What does a Bond girl have to do with a Botticelli? Quite a lot, actually. This is what I realise at the Victoria & Albert Museum’s‘Botticelli Reimagined’ exhibition, almost as soon as I walk through the door. A large screen is playing a scene from the 1964 Bond film Dr. No, in which Ursula Andress (as the dubiously named ‘Honey Ryder’) emerges from the sea, in the little white number that is now one of the most famous bikinis of all time. Why on earth are we looking at this? Where is the obligatory timeline of Sandro Botticelli’s life, giving us the overview of his developing career, and leading us towards the paintings recognised as the works of one of the greatest Renaissance painters of all time?
It shouldn’t be that unusual to find a reference to a blockbuster film in an art exhibition. We know that popular culture and ‘high’ art aren’t incompatible – that’s what Pop Art was all about, after all. But that’s Pop Art. This is an exhibition about the Renaissance, and Botticelli’s influence on other artists since that time – even if one of them was the ultimate Pop Artist, Andy Warhol – so why not begin at the beginning? Though Honey Ryder does look quite a bit like the Birth of Venus (1482-1485), it feels unusual that she is our mediating guide (along with Uma Thurman, shown on the same screen as Venus in the 1988 film The Adventures of Baron Munchausen) through this trajectory. There is something to be said for the fact Honey Ryder belonged to a moment in history often referred to as the ‘birth of the sexual revolution’ – but isn’t this quite a tenuous link to Venus’ titular birth?
Nine months after Los Angeles’ newest contemporary art museum opened to overwhelming crowds, The Broad’s first special exhibition will debut in June with a comprehensive survey of the work of artist Cindy Sherman.
Cindy Sherman: Imitation of Life is the first major museum show of Sherman’s work in Los Angeles in nearly 20 years, and the exhibition will fill The Broad’s first-floor galleries with close to 120 works drawn primarily from the Broad collection.
ArtAttack visited the Tate Modern today and experienced a rollercoaster of emotions. On the one hand, we viewed an exhibition everyone should see, ‘The EY Exhibition: The World Goes Pop,.’ to develop their minds on traditional Pop Art and its’ relationship with politics, culture and feminism. In complete contrast we were privileged to view an artists’ experiment ‘Blindly,’ a painting workshop with a small group of visually impaired participants.
When I think of my hometown, Los Angeles, California, palm trees, expansive beaches and rainbow sunsets come to mind. I start to crave In n’Out Burger, hot pilates and early morning hikes in Runyon Canyon, $20 Juice Served Here smoothies (worth it, I swear) and the ever perfect ‘Trust Me’ menu at Sugarfish. I think of lazy strolls on Abbot Kinney, movie premieres taking over Hollywood Boulevard, hip hop nights at the club and performers on the Venice boardwalk. What I do not think of however, is art.
Now, before you go telling me how LA has a “killer art scene,” yes, of course I realize there is art in LA. From street art on every major boulevard, to Renaissance masterpieces at the Getty, and gallery private views with drinks flowing almost every weekend, by no stretch of the imagination is the City of Angels not a City of Art as well. However, living in London currently and having lived in New York, I never thought of my city as quite up to par with my adopted homes art-wise, at least not until The Broad.
The Broad has changed everything.
Marketed, quite accurately, as ‘LA’s new contemporary art museum,’ the building, by design firm Diller Scofidio + Renfro, is a piece of art in itself gracing the skyline of Downtown LA. Inside, the vast-beyond-comprehenstion postwar and contemporary collection of philanthropists Eli and Edythe Broad awaits. Just to be transparent, that’s 2,000 works of art collected over the course of 50 years, and including the likes of Jean-Michel Basquiat, Cy Twombly, Keith Haring, Roy Lichtenstein, Andy Warhol, Takashi Murakami, Ed Ruscha, Damien Hirst, Cindy Sherman and Christopher Wool, to name but a few.