It operates as a refuge for a civilizing element in short supply in contemporary America: honest criticism
On "Art of Change: New Directions from China," which opened at the Hayward Gallery, London on September 7 and remains on view until December 8, 2012, and "Everything Was Moving: Photography from the '60s and '70s," which opened at the Barbican Art Gallery, London September 13, 2012 and remains on view until January 13, 2013.
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The art of modern China has once again entered the London galleries in force. The Hayward Gallery, which has a long and successful record of exhibiting work by the world’s most adventurous and innovative artists, has now devoted its entire main space to contemporary work from China—pictures, sculptures, photography, videos, human statues, and performance art. Across town in the Barbican Art Gallery, hidden away upstairs in a couple of side rooms in a large photography exhibition, is the utterly contrasting work of the Chinese photojournalist Li Zhenshang. Li has given the world its most extensive visual record of the horrors of Mao Zedong’s Cultural Revolution of 1966–76. It provides a grimly realistic prelude to the world of high contemporary fantasy at the Hayward, an exhibition which has so many new Chinese directions that it almost ceases to have direction at all.
Perhaps the most ou ...
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This article originally appeared in The New Criterion, Volume 31 November 2012, on page 48
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On "Turner and the Sea” at the National Maritime Museum, Greenwich, London
On "Georgians Revealed: Life, Style, and the Making of Modern Britain” at the British Library, London and "Only in England: Photographs by Tony Ray-Jones and Martin Parr” at the Science Museum, London
by Karen Wilkin
On “Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937” at the Neue Galerie, New York.
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