Your weekly art world low-down: news, ideas and things to see A feminist fightback, exploring the fourth dimension and a Greek odyssey – the week in art | Art and design | The Guardian
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| | | | | | A feminist fightback, exploring the fourth dimension and a Greek odyssey – the week in art | | A survey of female protest hits the Tate, the dazzling sculpture of Ghanaian artist El Anatsui and the drawings that made Genoa a Renaissance powerhouse – all in your weekly dispatch | | | | Jill Posener, Fiat ad, London, 1979. Photograph: Courtesy of the artist | | | | | Exhibition of the week Women in Revolt! Art, Activism and the Women’s Movement 1970–1990
Survey of feminist art and protest with Ingrid Pollard, Mary Kelly and more.
• Tate Britain, London, 8 November-7 April Also showing Gemma Anderson-Tempini – And She Built a Crooked House
An Artangel installation in a spooky old Victorian house that explores the idea of time as a “fourth dimension”.
• Burton Grange, Leeds, until 28 January Superb Line – prints and drawings from Genoa 1500–1800
Drawings from Renaissance and baroque Genoa including the mannerist genius of Perino del Vaga.
• British Museum, London, until 1 April El Anatsui: TimeSpace
Smaller than the Ghanaian sculptor’s magnificent installation in Tate Modern, these glittering works find beauty in scrap.
• October Gallery, London, until 13 January John Craxton: A Modern Odyssey
Visions of sun, sea and sex by this British artist who loved Greece.
• Pallant House Gallery, Chichester, until 21 April Image of the week | | | | | Sam Bankman-Fried by Jane Rosenberg, clockwise from top left, from 22 August to 28 October. Composite: Jane Rosenberg/Reuters | | | | These four portraits are of one man, cryptocurrency fraudster Sam Bankman-Fried, drawn by one courtroom sketch artist, Jane Rosenberg. A sketch artist for over 40 years, Rosenberg found Bankman-Fried’s face “unusual” and tried to document his shape-shifting appearance while “trying over and over” to capture his likeness as the trial progressed, resulting in everything from a buff angry man to a meek young victim. What we learned An Australian cow paddock now has a $174m Monet Hockney’s new life drawings boom with energy and hope Halloween is extra creepy on the New York subway … and it’s terrifying in paintings too Michelangelo’s doodles on the wall of a Florence cellar are going on show for the first time There’s a lot more to Klimt’s The Kiss than we thought The pursuit of beauty drives us to strange extremes How a Spanish biologist discovered a lost masterpiece by Géricault The Caribbean art of seed work risks being lost Masterpiece of the week The Comte d’Espagnac by Élisabeth Louise Vigée Le Brun, 1786 | | | | | | | This 10-year-old boy has the long wild hair of a budding romantic, painted in the age when France was excited about Jean-Jacques Rousseau’s writings and the cult of nature they celebrated. Vigée Le Brun is a painter of naturalness, freedom and spontaneity. This lad has the same smiling optimism as her Self-Portrait in a Straw Hat in the National Gallery; she would also portray Emma Hamilton wildly bashing a tambourine. But the energy and experiment of this artist were out of tune with her time. Both she and her sitter the young comte d’Espagnac would soon be fleeing France, for they were part of the “frivolous” upper class condemned by the French Revolution.
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