ArtReview April 2018

Featuring Zanny Begg’s City of Ladies, Womanhouse, Ana Mendieta, The Milan Women’s Bookstore Collective, a report on Istanbul, reviews and more



Martin Herbert’s pick of ten must-see exhibitions in April
Glasgow International, various venues
Zoe Leonard, Whitney Museum of American Art, New York
But a Storm Is Blowing from Paradise, Galleria d’Arte Moderna, Milan Pier Paolo Calzolari, White Cube, London
Elin Gonzalez, Lucas Hirsch, Düsseldorf
Post-Pop, Outside the Commonplace: Pop detours in Portugal and England, 1965–1975, Gulbenkian Museum, Lisbon
David Hockney, Los Angeles County Museum of Art
David Goldblatt, Centre Pompidou, Paris
Leda Bourgogne, BQ, Berlin
Charles Atlas, Migros Museum für Gegenwartskunst, Zürich

Under the Paving Stones: Juliet Jacques on the literary influences of Istanbul and an art scene that has grown to endure Turkey’s unsettled political climate

Curator, writer and historian Elena Filipovic talks to Ross Simonini about her most recent book on the elusive artist David Hammons and what it’s like to study a subject that doesn’t want to be studied

Art Featured

Zanny Begg’s The City of Ladies: Resistance, revisionism and reclamation
For Nina Miall, the Australian artist’s film (inspired by Franco-Italian writer and ‘proto-feminist’ Christine de Pizan’s 1405 novel) spotlights the many facets of feminism and the role collectives play in protest

Words into Action: The story of the Milan Women’s Bookstore Collective
Established as a platform for debates around gender, sexuality, feminism and politics in 1975, Libreria delle Donne de Milano stocked essays, novels and graphic works by women only, encouraging the publishing of new writing as well as making earlier publications accessible. The collective now runs a bookshop and a nextdoor canteen. Barbara Casavecchia considers the legacy the founders have left behind

Lauren Elkin on what the pioneering Cal Arts programme run by Judy Chicago and Miriam Schapiro teaches us about collaborative education and the value of artistic labour

The Life and Legacy of Ana Mendieta
‘To turn a dead woman into a martyr is to turn her story into your own’ says Rosanna Mclaughlin on what it means to coopt the life of an artist for a social cause, the fetishisation of female victimhood and the artworld’s complicity in presenting the ‘ideal woman artist as dead or close to dying’.

Art Reviewed

Reviews from around the world

Post Zang Tumb Tuuum. Art Life Politics: Italia 1918–1943 at Fondazione Prada, Milan, by Barbara Casavecchia
The State is not a Work of Art at Tallinn Art Hall, by Oliver Basciano
Maria Thereza Alves at Galerie Michel Rein, Paris, by Violaine Boutet de Monvel
Reframing Worlds: Mobility and Gender in a Postcolonial, Feminist Perspective at Galerie im Körnerpark and Neue Gesellschaft für Bildende Kunst (NGBK),
Berlin, by Phoebe Blatton
Anne Pöhlmann at Clages, Cologne, by Moritz Scheper
Sustainable Futures at Sirius Art Centre, Cobh, by Luke Clancy
Ramaya Tegegne at Galerie Maria Bernheim, Zürich, by Aoife Rosenmeyer
Ma Qiusha at Middlesbrough Institute of Modern Art (MIMA), by Daisy Lafarge
Tara Donovan at Pace Gallery, London, by Skye Sherwin
Iman Issa at Spike Island, Bristol, by Linda Taylor
Hannah Ryggen at Modern Art Oxford, by Louise Darblay
Yto Barrada at The Curve, Barbican Centre, London, by Izabella Scott
Erica Scourti at Studio RCA, London, by Isabella Smith
Margaret Salmon at Tramway, Glasgow, by Susannah Thompson
April Street at Susanne Vielmetter Los Angeles Projects, by Lindsay Preston Zappas
Yevgeniya Baras at The Landing, Los Angeles, by Jonathan T. D. Neil
Caroline Walker at Anat Ebgi, Los Angeles, by Jonathan Griffin
Patty Chang at Queens Museum, New York, by Ashton Cooper
Amy Sillman at Gladstone 64, New York, by Wendy Vogel
Judith Bernstein at Paul Kasmin Gallery, New York, by Ben Eastham
New Museum Triennial at New Museum, New York, by Sam Korman


Being Here Is Everything: The Life of Paula Modersohn-Becker, by Marie Darrieussecq, reviewed by Ben Eastham

Misère: The Visual Representation of Misery in the 19th Century, by Linda Nochlin, reviewed by Mark Rappolt

Give Up Art, by Maria Fusco, reviewed by Chris Fite-Wassilak

See What Can be Done: Essays, Criticism, and Commentary, by Lorrie Moore, reviewed by David Terrien

The Strip: A new work by Rachael Ball

A Curator Writes: I. Kurator seeks refuge from angry women and finds himself in the midst of male hysteria