In the Whitechapel’s latest retrospective, Eileen Agar is revealed as an artist of unique imagination, a free spirit whose repertoire looked to the magic of nature for inspiration, writes our contributor Denise Hansen.
Bringing together thirteen emerging artists between the ages of 16-25, the Barbican’s latest exhibition, It All Comes Down, explores how young people navigate the world and approach their artistic practise during the pandemic.
In this beautiful creative non-fiction piece, ‘Gold Top’, Rym Kechacha uses Remedios Varo’s painting, Celestial Pablum, to explore her own experiences of breastfeeding her baby daughter through the night.
On a trip to Berkeley, California, Molly Gilroy discovered Sylvia Fein’s hypnotic and blazing work, The Painting Told Me What to Do, 2012, an image, which in postcard form, has given her hope during lockdown.
On removing a postcard of Frida Kahlo from her wall, Rachel Ashenden began to reflect on past loves, the feelings postcards evoke and the liberation one can feel, even in lockdown, towards old relationships.
For the fourth piece in her continued series, Rochelle Roberts reflects on Dorothea Tanning’s monumental and transformative self-portrait, Birthday, 1942, and considers the prospect of the end to coronavirus.
In her third piece from a self-conceived series, Rochelle Roberts reflects on Eileen Agar’s Angel of Anarchy, 1936-40, a striking and evocative object that embodies current feelings of sadness, inaccessibility and loneliness.
During these times of self-isolation and remote learning, visual art can still be a source of inspiration. Here, Rochelle Roberts reflects on Claude Cahun’s notable work, Self-Portrait (as weight trainer).
After viewing Dulwich Picture Gallery’s latest exhibition, British Surrealism, Jennifer Brough reflects on one of the west’s most disruptive art movements, its elitism, and how women surrealists are gradually being given the space they deserve.