Rita Fennell is studying for an MA in Musuem Cultures at Birkbeck University London. She had always been fascinated with art and finally decided to take her interest further by taking a degree in Art History as a mature student. She hasn’t looked back from this life changing experience. Rita really enjoys engaging with visual art through exhibitions and her MA studies. She has created arts projects at Keats House and Benjamin Franklin House as a volunteer and intends to make a career change into the arts sector soon.
Gifted displays over 100 works on paper gifted to the Royal Collection by the Royal Academy, including works by major figures in British contemporary art such as Tracey Emin, Anish Kapoor, Grayson Perry, Frank Bowling and Zaha Hadid.
An excellent selection of works at Sir John Soane's Museum brings out the depth and range of Alan Sorrell's career and raises the question of whether he has been overlooked within the English Neo-Romantic movement.
Complicated threads twist and wind in The Garden of England at the Queen's House Gallery: Alice Kettle shakes up the royal collection with flowerbeds in the North-West Parlour and lacy fronds hanging down the Tulip stairwell of Inigo Jones' architectural masterpiece in Greenwich.
The Portrait Anatomised, Susan Alworth's exploration of portraiture through medical brain analysis at the National Portrait Gallery, sensitively explores the idea of whether portraiture can ever reveal the elusive true self.
Subtly placed pots evoke a contemporary presence at Sir John Soane's Museum, where several ceramicists engage with the museum space and its history. You will have to hunt a bit to find these works among the teeming objects in the permanent collection, but once found, they make for a striking flash of bright newness.
Dulwich Picture Gallery delivers an exhibition of 17th century Spanish painter Murillo and his patron de Neve, from shimmering religious masterpieces in a replica Sevillian church, to the kitsch delights of Ruskin's bête noires, the Beggar Boys.
Raven Row must be congratulated for bringing this major retrospective of Bela Kolarova’s artistic career to London. Relatively unknown outside the Czech Republic, Kolarova’s work is a revelation of an artist working within the constraints of a totalitarian regime to express the issues of the everyday.
Fiona Rae's exhibition of new paintings at Timothy Taylor Gallery shows this professor of painting at the Royal Academy of Art to have an excellent handling of oil paint. Rae's new works place femininity into the traditionally male territory of oil painting, exuding softness and gentility, as well as the turmoil and tumult of the self.
A delightful new exhibition from the V&A, featuring 49 of John Constable's oil sketches that trace his work from Suffolk and Essex through to Hampstead, Brighton and Salisbury. These impressionistic sketches show the artist in process, working in the moment and from reality to discover a truthful representation of nature.
A fantastic project by the Education team at the Wallace Collection, Journeys East is their collaborative approach with community groups. The results are rich works in collage, ceramics and silks that reflect on the Dutch Collection of Art while raising contemporary issues of migration, identity and the hidden self.
A brilliant exhibition: the National Portrait Gallery has dug deep to bring together a real variety of material that reveals the glittering and promising life of the Lost Prince, Henry Stuart, who was cut down at such a tragically early age.
Joana Vasconcelos follows her hugely successful exhibition at the Palace of Versailles earlier this year with a site-specifc display at Haunch of Vension. Vasconcelos' works are fresh and contemporary, spectacular and exuberant, and play with both everyday objects and the unexpected.
The Courtauld Gallery shifts focus from Peter Lely's court portraiture to reveal a previously-overlooked period of work in England: his early subject pieces and his depiction of a sensual and pastoral Arcadia.
Paul Benney has used the Deadhouse, the subterranean space of Somerset House to brilliant effect. The individual, brick storage alcoves are dark and dank even in daylight, but their size and atmosphere works to create a rare environment for viewing art that feels both exclusive and intimate.
This is a fantastic exhibition in which the artists have certainly brought a sense of Soane to the empty spaces of Pitzhanger Manor. The collaboration works to evoke and celebrate Soane’s inventive personality with artworks that extend his ideas into exciting twenty-first century responses.
This exhibition is densely packed with material relating to the history of the modern Olympic Games and reveals the part Philatelists have had to play in preserving lived experiences that took place through postal communication.
Damián Ortega's abilities to see the expressive qualities resident in the simple material of salt has allowed him to transform day to day objects into texts of social and political dialogues. Overall an exhibition worth visiting. At White Cube Mason's Yard.
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