VALIE EXPORT, Smart / Export II, 1968/1970.

Vintage gelatin silver print. 60.7 x 40.5 cm. Copyright the Artist. Courtesy Richard Saltoun Gallery.

Chris Marker, British Surrealism and a last chance to catch Turner and the Sea

RA Recommends

By Sam Phillips

Published 17 April 2014

From experimental films to Turner's seascapes, everything worth seeing in the world of art this week.

Tags

Sam Phillips

Whitechapel Gallery

Sprüth Magers

Abbott Hall

Richard Saltoun

National Maritime Museum

  • Chris Marker: A grin without a cat

    Whitechapel Gallery, until 22 June 2014
    Readers of an art-house orientation will be pleased to learn of the Whitechapel’s focus on Chris Marker, the late French filmmaker celebrated for experimental flicks such as Sans Soleil (Sunless, 1983), a non-linear meditation on memory. As well his work on celluloid, the show presents artist books, photographs, multimedia installations and, in Ouvroir: The Movie (2010), a tour of Marker’s virtual museum created on the website Second Life.

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    Chris Marker, La Jetée, 1962.

    Film Still. Image courtesy BFI Stills Collection. © 1963 Argos Films.

  • Andreas Gursky

    Sprüth Magers, until 21 June 2014
    Andreas Gursky produced the most expensive photograph ever sold: Rhein II (1999), which in 2011 was auctioned for £2.7 million. But however extreme his prices, his greatness as a photographer is hard to question, so incredibly rich are his interior and landscape images. Sprüth Magers presents a series of his early photographs from the late 1980s and early 1990s, before the Düsseldorf-trained artist digitally manipulated his works. Recent photographs are on view at Bermondsey’s White Cube from the end of the month.

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    Andreas Gursky, Alba, 1989.

    87 x 108 7/8 x 2 3/8 inches. Copyright: Andreas Gursky / DACS 2014. Courtesy Sprüth Magers Berlin London.

  • British Surrealism Unlocked

    Abbott Hall Art Gallery, until 21 June 2014
    Although Surrealism is thought of as a continental art phenomenon, thanks to iconic images by artists such as Dalí, Ernst and Magritte, there was a significant flowering of the movement in Britain from the 1930s with painters such as Roland Penrose and Merlyn Evans. The widest array of British Surrealism in private hands in the UK – the Sherwin Collection – has gone on view at Kendal’s Abbot Hall this week.

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    Desmond Morris, There's No Time Like The Future, 1957.

    Oil on canvas. The Sherwin Collection, Leeds, UK / The Bridgeman Art Library. © Desmond Morris.

  • Viennese Season: Feminism

    Richard Saltoun, until 23 May 2014
    Richard Saltoun follows his exhibition on Vienna Actionism (mentioned on this blog a few weeks back) with another focus on post-war Viennese art, this time spotlighting feminist works by artists Valie Export and Friedl Kubelka. The latter is  represented by photographs including the series ‘Pin Up’ (1971–74), in which she stages self-portraits of her semi-naked body – an ambiguous mimicry of images mass-produced for male consumption.

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    VALIE EXPORT, Smart / Export II, 1968/1970.

    Vintage gelatin silver print. 60.7 x 40.5 cm. Copyright the Artist. Courtesy Richard Saltoun Gallery.

  • Last chance: Turner and the Sea

    National Maritime Museum, until 21 April 2014
    If you’re in the capital this Easter weekend, you’ll have a last chance to catch ‘Turner and the Sea’, the National Maritime Museum’s sweeping survey of the British artist’s sea paintings, which range from his early works of impeccable draughtsmanship to his proto-modern late work where sea, sky and sailing vessel all merge in a tide of paint.

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    J.M.W. Turner, The Fighting Temeraire, tugged to her last Berth to be broken up, 1838.

    Oil on canvas. © The National Gallery, London.

  • Sam Phillips is Editor of RA Magazine.

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