Our pick of this week’s art events: 6 – 12 February

RA Recommends

Published 6 February 2015

From Peruvian Huacos and Japanese netsuke to the portraits of Marlene Dumas.

  • Marlene Dumas: The Image as Burden

    Tate Modern, London, until 10 May
    You may have been reading the rave reviews about the big opening this week – a survey show of Marlene Dumas Hon RA at the Tate. Before it came to the Tate, RA Magazine’s columnist Simon Wilson went to see the show in Amsterdam, and wrote a piece that is well worth reading that puts the expressionist painter in art-historical context.

  • Marlene Dumas RA, The Kiss

    Marlene Dumas RA, The Kiss, 2003.

    Oil on canvas. 40 x 50 cm. Private collection, London, copyright Marlene Dumas, photo Peter Cox.

  • Cotton to Gold: Extraordinary Collections of the Industrial North

    Two Temple Place, until 19 April
    If you haven’t yet visited Two Temple Place, a no-expense-spared Late Victorian mansion on London’s Embankment, then its new exhibition drawn from three Lancashire collections is a nice opportunity, with an idiosyncratic range of work that includes icon paintings, Peruvian Huacos, Japanese woodblocks and watercolours by J.M.W. Turner RA.

  • Utagawa Kunisada, Yoshiwara Lady on Parade

    Utagawa Kunisada, Yoshiwara Lady on Parade, 1855.

    Woodblock print. Lewis Collection / Blackburn Museum and Art Gallery.

  • Giacometti – Smith

    Ordovas, until 11 April
    The malleability of metal is the subject of Ordavas’ latest two-hander: a comparison between Alberto Giacometti and David Smith. They were the preeminent sculptors on either side of Atlantic in the years after the Second World War, although Giacometti’s roughly hewn, vertically enhanced figures and David Smith’s welded iron and steel abstracts are, at first glance, visually very different.

  • David Smith, Anchorhead

    David Smith, Anchorhead, 1952.

    © Estate of David Smith/DACS, London/VAGA, New York 2015.

  • William Gear RA

    Fosse Gallery, Stow on the Wold, until 21 February
    Although the avant-garde group COBRA is closely associated with the cities of Copenhagen, Brussels and Amsterdam (whose first letters make up its acronym), it is interesting to learn that William Gear, a British artist and a Royal Academician to boot, was also a member. To celebrate a centenary since Gear’s birth, Fosse Gallery focuses on the Fife-born artist’s free and colourful works on paper.

  • William Gear, Self Portrait

    William Gear, Self Portrait, 1949.

    44 x 61 cm. Paris.

  • Installation image from Solar Reserve at Lincon Centre, New York, presented in association with the Public Art Fund

    Installation image from Solar Reserve at Lincon Centre, New York, presented in association with the Public Art Fund

    Photograph: James Ewing

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