15th March-4th June 2017 Imagine Moscow: Architecture, Propaganda, Revolution Design Museum, London
For those familiar with Moscow’s eclectic mix of religious architecture, grand European styles and Stalin’s ‘wedding-cake’ style skyscrapers, the idea of the Russian capital looking starkly different can be hard to imagine. However, in the 1920s and early 1930s, there was a whole generation of bold architects who envisioned it as the international centre of socialism and the USSR. Marking the centenary of the Russian Revolution, Imagine Moscow features six unbuilt architectural landmarks in Moscow to outline an idealistic vision of the Soviet capital that was never realised. Projects include the Palace of the Soviets, planned to be the world’s tallest building, and Cloud Iron, a network of horizontal skyscrapers, with architectural plans, models and rarely seen drawings. The exhibition includes the designs of Aleksey Schusev’s Lenin Mausoleum as well as the competition entries submitted by professional designers and the public.
Boris Iofan, Vladimir Shchuko and Vladimir Gelfreikh, Palace of the Soviets, 1944, pastel, watercolour, charcoal, pencil, paper. Tchoban Foundation.
9th March-18th June 2017 The American Dream: pop to the present
The British Museum, Great Russell Street, London WC1B 3DG
As seismic changes in the US send ripples through the rest of the world, The American Dream: pop to the present couldn’t be more timely. Charting six decades of modern American printmaking, from the early 1960s to the present day, the exhibition is a journey through dynamic and turbulent years in US history, accompanying a period when its wealth, power and cultural impact had never been greater. With loans from New York’s MOMA and Washington DC’s National Gallery of Art, it’s a veritable who’s who of American artists, from Jasper Johns and Andy Warhol to Robert Rauschenberg and Louise Bourgeois. Using more than 200 works by 70 artists, the exhibition explores the innovative techniques, scale and ambition that mirrored the USA’s growing influence, as well as how it dealt with social and political issues, civil rights and pivotal events, such as the moon landings. From the confidence of the post-war boom years to the validity of the American Dream, the artists on show have explored and questioned this vast country’s global impact and economic evolution. As a polarising president steps into office and another chapter of US history begins, this exhibition provides a fascinating reflection of American culture and society in the past and present.
May Stevens (b. 1924), Big Daddy with Hats. Colour
screenprint, 1971. ˝ May Stevens. Reproduced by
permission of the artist and Mary Ryan Gallery, New York.
asper Johns (b. 1930), Flags I. Colour screenprint, 1973. Gift of Johanna and Leslie Garfield, on loan
from the American Friends of the British Museum.
˝ Jasper Johns/VAGA, New York/DACS, London 2016. ˝ Tom Powel Imaging.
Andy Warhol (1928–1987), Vote McGovern. Colour
screenprint, 1972. ˝ 2016 The Andy Warhol Foundation
for the Visual Arts, Inc./Artists Rights Society (ARS), New
York and DACS, London.
3rd-7th May 2017 London Craft Week
Showcasing the best international and British creatives, London Craft Week brings with it a curated programme of famous studios and brands alongside unknown makers and renowned designers. Highlights include an exclusive dinner at The Beaumont Hotel, dining alongside the Savile Row tailors who have created a bespoke capsule wardrobe for fictional character Jimmy Beaumont, a nine-course Kaiseki dinner with two Michelin-star chef Yoshinori Ishii, and sessions covering how to commission bespoke items including rugs, glassware and lighting, wallpaper and jewellery – the latter of which is held at the House of Garrard, the longest serving jewellery house in the world, in conjunction with 1843 magazine from The Economist.
19th-30th May 2017 All Icons Are False
D Contemporary Gallery, 23 Grafton Street, London W1S 4EY
Artist Alexander James’s work could easily pass for centuries-old still lifes, yet each is a photograph and employs water to give it its ethereal, painterly qualities. New exhibition All Icons Are False brings together some of his previous works from Vanitas, Dissolved Sadness, Rosae with new floral works to create a body of work that’s as breathtaking as it is entrancing. A portion of all sales made will go the GCF, enabling research into improved diagnosis and treatment of five gynaecological cancers, while Alexander is also offering one of his works from the exhibition to the fund.
The Great Leveler from ‘Vanitas’ 2009-2013, 120 x 90cm
chromogenic print 6 of 10.
Vaganova from ‘Rastvoyrenayya Pechal’ (dissolved sadness) 2014,
Moscow, unique 90 x 67cm chromogenic print
Art & Culture