Mad, Bad and Sad: Women and the Mind Doctors
Freud Museum, 10 October - 2 February 2014
Inspired by Lisa Appignanesi’s book of the same name, the group exhibition ‘Mad, Bad and Sad: Women and the Mind Doctors’
at Hampstead’s Freud Museum focuses on the particular experience of women in the development of psychiatry.
Sarah Lucas's 'Suffolk Bunny' in Freud’s Study. © Sadie Coles HQ and Freud Museum London.
Featuring art works by figures such as Louise Bourgeois, Helen Chadwick, Tracey Emin RA, Susan Hiller and Sarah Lucas, as well as historical documents and photographs, the show promises to examine how the new techniques by both Freud and his followers affected females both positively and negatively.
Stuart Pearson Wright, 'Alas Poor Yorick', 2013. © Stuart Pearson-Wright and Rifemaker. Stuart Pearson Wright
Riflemaker, 7 October - 16 November 2013
British artist Stuart Pearson Wright won the BP Portrait Award in 2001 for a masterful conversation piece that featured six British Academy presidents around a table, and now has 27 portraits in the National Portrait Gallery collection.
But although his sometimes breath-taking technique renders human flesh in a highly realistic way, there is always something surreal and uncanny about his works, most often in their settings and their symbolism.
His latest show at Soho’s Riflemaker gallery, for instance, includes a painting of a child in a field surrounded by bubbles, and a self-portrait as the artist as Hamlet, kneeling in a graveyard addressing a skull.
Turner Contemporary, 5 October - 5 January 2014
The Turner Contemporary
in Margate commendably commissions and presents contemporary artists that connect to some of the themes of Turner’s art. Dorothy Cross is the latest, an Irish artist who in sculpture, photographs and videos examines the relationship of humans to the natural world.
Dorothy Cross, 'Everest Shark', Meadow Arts Commission 2013. Bronze. Courtesy the artist and Meadow Arts
Cross travels to inaccessible landscapes as part of her work, producing objects that often incorporate the skeletons and skins of animals. One of the highlights of her Turner show is a video that shows the sea-shell-covered subterranean spaces of Margate’s Shell Grotto.
Lindsay Seers, 'Sailor Girl '. Courtesy Matts Gallery. Lindsay Seers
Matts Gallery, 9 October – 1 December 2013
One of the most thought-provoking Artangel projects of the last decade was last year’s work Lindsay Seers, in which the Tin Tabernacle in Kilburn, London, hosted an audio-visual installation that took the visitor on a journey through post-colonialism, ophthalmology and Masonic law (my review of the project can be read here).
Her exhibition at the city’s Matts Gallery,
beginning on Wednesday, should unwind a similarly free-wheeling narrative – it features an installation and video works that, from the starting point of photographs connected to her step-sister Catherine, free associate across the history of ideas.
PEER, until 7 December 2013
Winner of last year’s prestigious Hugo Boss Prize at the Guggenheim Museum, New York, Vietnamese-born Danh Vo has gained international admiration of late for works in a variety of media that address global issues such as immigration.
Danh Vo, 'We The People' (detail), 2011–2013. Installation view at PEER.
Over the past two years, he has been displaying his major project We The People
across cities in America, Europe and Asia, and this week it arrives in London, at Shoreditch’s gallery Peer. It comprises copper fragments of a life-size replica of the Statue of Liberty – instead of being brought together as an immense whole, they have been dispersed. A symbol of immigration thus emigrates, scattering across new countries.
Sam Phillips is a London-based arts journalist and Editor of RA Magazine