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
Whether you want to furnish the design lover in your life’s home, or encourage your studio Secret Santa to eat bugs, we’ve got you covered.
Research into the UK’s craft economy from UCA highlights economic growth and a rise in online opportunities but also gaps in support for makers.
Oluwaseyi Sosanya, founder of Gravity Sketch, tells Design Week virtual 3D sketching is a “gateway to new abilities”, so long as the industry can overcome a “cultural hurdle”.
The updated look for Sillages Paris features a new typeface, illustrations, art direction and brand visuals, all communicated in a “bold and fun” visual language.