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| 'It's like one continuous song pours out of him': meet the shaman-like artist-musician Lonnie Holley | by Sean O'Hagan May 1, 2022 | The self-taught singer and sculptor from Alabama exists in a state of constant, spontaneous creativity. He talks about his roots and his new project with Artangel, inspired by Orford Ness In his elaborately discursive way, Lonnie Holley is telling me about the first time he set foot on Orford Ness, a 10-mile-long shingle spit on the Suffolk coast earlier this year. Now a protected nature reserve, it is an austere, windblown landscape of deserted roads and the shells of military buildings, the residue of its former use as a military testing site during the first and second world wars. “Stepping off the boat and walking over the levee to encounter all these strange structures, my brain was taking me all over the place,” he says, his eyes widening at the memory. “I’ve always wandered deep into ruins, but this was something different. I could feel the energy. I could feel it.” Continue reading... | | | Walter Sickert review – a master of menace | by Laura Cumming May 1, 2022 | Tate Britain, London Rented rooms, sickly streets and gaslit pubs... this superbly curated show explores a British artist who specialised in suppressed malevolence It would be hard to imagine a more sinister sequence of self-portraits than those lurking at the start of this riveting Walter Sickert survey at Tate Britain. The artist paints himself glowering in a miasma of shadows, one eye homing in on you like a target. He hovers menacingly behind a bust of a bare-knuckle boxer. He is a grizzled Lazarus attacking his first posthumous meal, a man in a bowler hat tipped at an angle to match his barbed and sarcastic glare. Or he is a single arm, barring the way between a nude model and what might be us – or, more frighteningly, the exit. This is how Sickert (1860-1942) wished to be seen and known: as a man who must never be taken for granted, a disrupter, an actor, a menace, a taunt. Continue reading... | | | | |
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