We've got the latest reviews from The Arts Desk, covering a range of different genres from a variety of the visual and performing arts including art, music and dance.
The Arts Desk's Fisun Gner reviewed the controversial Japanese artist, Yayoi Kusuma's, latest contribution to the world of visual arts in her perplexing yet engaging exhibition at the Tate Modern. Her final product reveals the 82-year-olds complex state of mind giving you a glimpse into the inner workings of her artistic thought process, or lack thereof. From a wide range of pieces from watercolours and oil paintings to a completely mirrored room with LED lighting, it's not hard to believe that the artist committed herself into a psychiatric ward from 35 years.
There is a variety of new music updates to be addressed this week. From Valentine's Day video tributes by Peter Culshaw to Joe Muggs's take on the predictable Grammy winners including Bon Iver, Foo Fighters and Adele, there's much to be discussed. Some recent CD reviews that are worth a listen include tracks from Gregory Porter's jazz beats and Emeli Sandes debut album.
The French duo Justice performed at Brixton Academy and Joe Muggs attended their musically eclectic show. Despite delivering a range of house and disco genres, Muggs was disappointed with the obvious lack of enthusiasm palpable amongst the men behind the equipment. Yet he pointed out that the crowd, which were mostly rather indie-rock oriented, seemed to have a good time.
And finally in dance, Ismene Brown went to Sadler's Wells to see The Rodin Project, the latest offering from contemporary dance troupe The Russell Maliphant Company. Though undeniably stunning in its visual homage to sculptor August Rodin, the show seemed, however, to be only half-baked in its ideas. Choreographer Maliphant incorporated hints of bold ideas and the suggestion of risk-taking, and elements of contemporary streetdance, but seemed always to be holding back. The piece, according to Brown, did not have quite the finesse, poignancy or gravitas of his previous work 'AfterLight' or of some of his successful collaborations. And as such, it seemed less like one artist informing and enlightening another, and more like a fan simply admiring his idol.
The Arts Desk's Fisun Gner reviewed the controversial Japanese artist, Yayoi Kusuma's, latest contribution to the world of visual arts in her perplexing yet engaging exhibition at the Tate Modern. Her final product reveals the 82-year-olds complex state of mind giving you a glimpse into the inner workings of her artistic thought process, or lack thereof. From a wide range of pieces from watercolours and oil paintings to a completely mirrored room with LED lighting, it's not hard to believe that the artist committed herself into a psychiatric ward from 35 years.
There is a variety of new music updates to be addressed this week. From Valentine's Day video tributes by Peter Culshaw to Joe Muggs's take on the predictable Grammy winners including Bon Iver, Foo Fighters and Adele, there's much to be discussed. Some recent CD reviews that are worth a listen include tracks from Gregory Porter's jazz beats and Emeli Sandes debut album.
The French duo Justice performed at Brixton Academy and Joe Muggs attended their musically eclectic show. Despite delivering a range of house and disco genres, Muggs was disappointed with the obvious lack of enthusiasm palpable amongst the men behind the equipment. Yet he pointed out that the crowd, which were mostly rather indie-rock oriented, seemed to have a good time.
And finally in dance, Ismene Brown went to Sadler's Wells to see The Rodin Project, the latest offering from contemporary dance troupe The Russell Maliphant Company. Though undeniably stunning in its visual homage to sculptor August Rodin, the show seemed, however, to be only half-baked in its ideas. Choreographer Maliphant incorporated hints of bold ideas and the suggestion of risk-taking, and elements of contemporary streetdance, but seemed always to be holding back. The piece, according to Brown, did not have quite the finesse, poignancy or gravitas of his previous work 'AfterLight' or of some of his successful collaborations. And as such, it seemed less like one artist informing and enlightening another, and more like a fan simply admiring his idol.
About the Author:
Catherine McCulloch is a writer for The Arts Desk with a specialisation in visual arts and new music. For more information on the arts world around the UK, visit theartsdesk.com.
