In 1955, one of Yves Klein’s now famous monochromes was rejected for an exhibition in Paris, because a single colour was ‘insufficient’. The rejection came with the request, ‘Could you not add at least a little line, or a dot, or simply a spot of another colour?’ Now Klein’s painting, under the banner of Colour after Klein, provides the Barbican with the excuse to have a romp through colour in late 20th century art, taking in the pioneering colour photography of William Eggleston, the fluorescent installation art of Dan Flavin, Anish Kapoor’s sculpture, plus a clutch of more recent manifestations. It feels like a kind of highbrow version of Tate Britain’s recent – and high commercially successful – Turner Whistler Monet exhibition. While sitting comfortably alongside the rehabilitation of colour in our post-minimalist design zeitgeist, by grouping this disparate work together on the basis of a formal characteristic, the Barbican show risks making it merely pretty. Some of the original context and provocation is lost – think of Klein’s neo-Dadaist gesture of signing the blue sky. So all in all, a bit like eating too much cake, fun but indulgent.Colour after Klein runs from 26 May to 11 September at the Barbican Art Gallery, London EC2. Tel: 0845 1207550
The Nottinghamshire forest best known for its association with make-believe rogue and hero Robin Hood has had a revamp, with a new visitor centre, branding and wayfinding centred around environment
The Wild lets users design spaces and share their vision “in real time”, which the company claims can help bridge the gap between ideas and reality
McDermott & McGough’s piece is a functional, secular safe space that can be used by the public for quiet contemplation or hired out for ceremonies.
This month, head to Manchester for a city-wide design extravaganza, delve into the world of Roald Dahl and read all about the history of graphic design.