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Exhibition of the week
Turner’s Modern World
The energy and vertigo of a new world of steam and science electrifies the luminous mists of JMW Turner’s art. This exhibition follows his observation of contemporary life from harrowing depictions of the Napoleonic wars to his elegiac painting of a ship of the line at the end of its days, The Fighting Temeraire.
• Tate Britain from 28 October until 7 March
Also showing
Ray Harryhausen: Titan of Cinema
Harryhausen’s creatures are true pop art. From a giant octopus destroying the Golden Gate Bridge to his epic retellings of ancient myths, he used rubber models and stop-go animation to create some of cinema’s most beguiling fantasies. This celebration is stuffed with drawings, models and other treasures.
• Scottish National Gallery of Modern Art, Edinburgh, 24 October to 5 September 2021
Cornelia Parker: Through a Glass Darkly
Moments of sudden violence preserved in surreally beautiful afterimages make Parker a poetic artist for the quantum age. Her latest works are eerie explorations of the traces of things: a series of still lifes made using the archaic technique of photogravure.
• Cristea Roberts Gallery, London, until 21 November
Nancy Holt: Points of View
Nancy Holt’s art is an inspiring cosmic constellation of sky mounds and sun tunnels that brought the visionary grandeur of neolithic monuments to modern America. She was part of the 1960s “land art” movement that is arguably contemporary art’s most sublime strand, with its near-legendary sites such as James Turrell’s Roden Crater.
• Parafin, London, until 14 November
Towner International
Despite the year’s surprises, Towner has assembled some impressive artists for this contemporary survey. It includes the subversive Adam Chodzko as well as Rita Evans, Sherko Abbas and the semi-abstract landscapes of Joe Packer.
• Towner Eastbourne until 10 January
Alfred Wallis Rediscovered
The creator of Kettle’s Yard, Jim Ede, hung its walls with this Cornish outsider artist’s innocent seascapes. Wallis was discovered by early 20th-century modernists who sought light and space in Cornwall. His raw art is still edgy and appealing.
• Kettle’s Yard, Cambridge, from 24 October to 3 January
Image of the week
Banksy’s Show Me the Monet – a reimagining of Claude Monet’s water lilies – fetched £7,551,600 at auction at Sotheby’s in London. Created in 2005, it adds abandoned shopping trolleys and a traffic cone to the impressionist scene. The works is part of Banksy’s Crude Oil series of “remixes” of canonical art, from Vincent van Gogh’s Sunflowers now wilting to Andy Warhol’s Marilyn Monroe re-faced with Kate Moss. Read more here.
What we learned
Coventry will host the Turner prize as city of culture in 2021
That a sealskin suit in Arctic at the British Museum had magical powers
Vandalism of artefacts in Berlin museums was ‘linked to conspiracy theorists’
Bananas, Brexit and long-distance relationships are the stuff of award-winning illustration
Artworld protesters the Guerrilla Girls are going strong after 35 years
Frida Kahlo, a documentary on the painter, is in cinemas
Piss Christ artist Andres Serrano has a controversial show of troubling objects in New York
Theaster Gates thinks art is a form of political thought
The Prado’s first post-lockdown show reignited criticism of art world misogyny
Arts organisations were told to praise a government campaign
Rachel Whiteread told young people to hold on to their dreams
Graphic artist Art Spiegelman doesn’t want to draw Donald Trump
Photographer of working-class life Chris Killip died …
… As did photographer Frank Horvat, who captured the seamy underside of Paris in the 1950s
A trailblazing example of modernist architecture goes on sale in Palm Springs
Masterpiece of the week
John Constable: Salisbury Cathedral and Leadenhall from the River Avon, 1820
Unlike his contemporary Turner, who painted sea battles and speeding trains, Constable was drawn to an older, more stable and slow-paced world of mills, villages and medieval towns. You can’t get a more enduring image of ancient solidity than the spire of Salisbury Cathedral, whose pale grey pyramid of tightly packed stone stands unbending here in a breezy cloud-spattered sky. But look again. The dappled freedom of Constable’s brushwork radically rejects the polished finish of earlier landscape artists. He sees in chunks and pixels of light, in a way that anticipates impressionism and expressionism. Constable proves you don’t have to be “Modern” to be modern.
• National Gallery, London
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