Art, Science and Exploration
Two Temple Place, until 2 April 2014
Every year between January and April, Two Temple Place – a mansion on London’s Embankment – opens its Neo-Gothic interiors to the public with a temporary exhibition, allowing visitors an architectural as well as art-historical treat. This year’s show explores the historic links between art and science with a cabinet-of-curiosities-style presentation of works from Cambridge University’s museums: expect a dodo skeleton and cases of Lepidoptera sharing space with paintings and prints.
Dodo, Composite skeleton, found c. 1870. A rare example of the extinct bird, this Dodo skeleton is a composite from the material collected from Mau- ritius by Sir Edward Newton in the 1870s and sent to his brother Alfred Newton, Professor of Comparative Anatomy at Cambridge University. © Museum of Zoology, University of Cambridge
Jerwood Collection Revealed
Jerwood Gallery, Hastings, 1 February – 23 April 2014
Hastings’ Jerwood Gallery focuses squarely on its own collection from this weekend, displaying near the entirety of its superb British art acquisitions across its spaces. Sculptures by Moore and Epstein and paintings by Spencer and Lowry come together with modern works by Academicians such as Alan Davie and Craigie Aitchison. A loan exhibition of Alfred Wallis’s naïve seascapes acts as a companion piece.
Edward Bawden RA, 'Brighton Pier', 1958. © The Estate Of Edward Bawden.
Jessica Jackson Hutchins
Timothy Taylor, until 8 March 2014
A series of sofas and armchairs take centre stage in an exhibition by American sculptor Jessica Jackson Hutchins at London’s Timothy Taylor Gallery. These found relics, messily adorned in acrylic paint, act as unusual plinths for plaster and ceramic forms. The sofas have had their upholstery slashed, and in Pink on the Inside (2013) an armchair has flesh-coloured cavities in its arms exposed, bringing an air of violence and vulnerability to the domestic object.
Jessica Jackson Hutchins, ‘SAP’, 2012. Sofa, watercolour, fabric, glazed ceramic. 110 x 150 x 88 cm. Copyright, Jessica Jackson Hutchins; Courtesy, Timothy Taylor Gallery, London.
Sadie Coles, St James, until 15 March 2014
‘Helen Marten treats physical stuff the digital way,’ wrote the critic Jörg Heiser. ‘She drags and drops, compresses and unpacks, crashes and reboots.’ Indeed, the British artist – the subject of a show at London’s Sadie Coles gallery from today – is an example of how the digital world has had a bigger influence on art offline than online. Her assemblages of objects and images – whether found, mediated or authored, two-dimensional or three-dimensional – create a World Wide Web of connections both material and metaphorical.
Helen Marten. Courtesy Sadie Coles.
Tate Britain, 5 February – 27 April 2014
And a reminder that next week a major survey of the sculptor Richard Deacon RA opens at Tate Britain. Critic Martin Herbert revealed the Academician’s working processes in an interview for the recent issue of RA Magazine – his main inspiration for his large-scale works ‘comes from how objects are put together’ in everyday life, whether curtains, birds’ nests or toys, such as a Marge Simpson head (‘I find her hair quite an interesting shape: all those bubbles’).
Richard Deacon RA, 'After', 1998. © Tate.
Sam Phillips is a London-based arts journalist and Editor of RA Magazine