Tate Britain presents the first major survey in 25 years of pre-eminent British sculptor Richard Deacon’s work. Deacon is best known for his lyrical open forms and works displaying organic fluid movement, a recurring feature notable in serpentine structures such as ‘After’ (1998), which occupies Room 5 of the exhibition like a giant somnolent latticework python.
Hot on the heels of the unveiling of the fabulous newly hung British collection, Tate Britain throws open a pair of giant pink hospital doors to showcase the work of two complementary British artists, Patrick Caulfield and Gary Hume. Presented as two parallel exhibitions (a single ticket admits visitors to both), each offers a survey of the work of painters whose names have become indelibly associated with two great movements in modern British art – Pop Art and the Young British Artists (or YBAs). Both movements were an attempt to bring art back into touch with the real and the everyday, in exciting new ways.
This week sees the unveiling of the new hang at Tate Britain, a chronological “walk through” 500 years of British art showcasing the Tate’s extensive collection with old favourites and some surprises along the way.
Previous hangs have attracted criticism for taking a radical thematic approach, but this new display is fresh and accessible. And the refurbished rooms in the Tate’s iconic home on London’s Millbank look fabulous.
This autumn’s blockbuster exhibition, Pre-Raphaelites: Victorian Avant-Garde at Tate Britain, is a sumptuous display of much-loved paintings by the core of the Pre-Raphaelite Brotherhood (PRB) – Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt – together with works by their disciples, as well as sculpture, textiles, furniture and glass. Five years in the making, this is the chance to see around 180 works brought together, and is the largest survey of the group since 1984. Read my full review here
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