David Hockney, Barry Humphries, 26th, 27th, 28th March (2015), all images courtesy Royal Academy

Currently on view at London’s Royal Academy through the end of the month, artist David Hockney continues his remarkably prolific painterly output, bringing a new series of portraits created at his Los Angeles studio to the British Institution.  Exploring a wide range of sitters through the artist’s particular approach to the genre, the show is both a striking map of Hockney’s own life, and his vivid, tireless approach to his craft.

 David Hockney, Rita Pynoos, 1st, 2nd March (2014)

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Joseph Cornell, Palace (1943), Courtesy Royal Academy

Despite his adventurous stylistic innovations, roving tastes and depth of vision, Joseph Cornell rarely left New York State.  The American artist lived much of his life as a textile worker, as well as other odd jobs, while caring for his family in a Flushing, Queens home, while spending his free time creating his massively influential “shadow boxes,” assemblages, films and collaged objects, a body of work that won him praise from Marcel Duchamp, and would go on to influence a range of artists, from the abstract expressionists through to conceptual practices today. (more…)

Alfred Gilbert, Jubilee Memorial to Queen Victoria (1887). Via The Guardian

It is understandable that critics are particularly divided in their reviews of Modern British Sculpture, at the Royal Academy of Arts through April 7. It attempts to question “What is British, what is modern and what is sculpture” ranging as far and wide as the African and Asian colonial influences of 20th century British sculptors, to the transitions between figurative and abstraction, to the work of Sarah Lucas and Damien Hirst. The show runs the gamut of well-known names but has fun throwing in the odd obscurity, like Alfred Gilbert’s Jubilee Memorial to Queen Victoria, a baroque piece by a classic British artist that is decidedly out of context in this exhibition. More familiar are Anthony Caro, Henry Moore and Barbara Hepworth, who are newly contextualized in this first exhibition in 30 years to focus on 20th century British sculpture—its origins, evolution, and impact.

Damien Hirst, Let’s Eat Outdoors Today (1990). Via The Guardian

More text and images after the jump…

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