Galerie Barbara Thumm opens an exhibition of works by Sarah Entwistle
Sarah Entwistle, It is important to know our next move. 2021. 1 weaving, steel table, copper objects, lightbulb. Dimension variable.
BERLIN
.- Sarah Entwistle (b. 1979) works across multiple forms and often with found ready-mades to develop sculptural arrangements that recall interior still-lives. These assemblages take their visual and conceptual cues from the informal archive of her late grandfather, architect Clive Entwistle (1916-1976) a manipulative figure whose numerous female lovers were drawn into often masochistic dynamics. In her first solo exhibition in Berlin Entwistle continues with the practice of spoliation in its expanded form, of borrowing and adaptive re-use of material from earlier constructs. Her extended practice, a form of inter-generational processing both literal and metaphysical, is presented here through the accumulation and assembly of sculptural elements, video, figurative sketches,
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A visitor studies Titians portrait, Benedetto Varchi, left, and Bronzinos Allegorical portrait of Dante, at the Metropolitan Museum of Arts The Medici: Portraits and Politics, 1512-1570, exhibit in New York, June 21, 2021. The sweep of Italian history and art history in dazzling portraits from the dynastys final hurrah, on view in a sumptuous exhibition at the Met. Diana Markosian/The New York Times.
by Roberta Smith
(NYT NEWS SERVICE)
.- Its hard to imagine Florence, cradle of the High Renaissance of early modern Europe, without its avaricious, venal, culture-conscious first family, the Medicis. Crowned and uncrowned, during periods of supposedly republican government and not, they largely ruled the city-state, or connived to, from the mid-14th to the mid-18th centuries, using art to cement their power. They excelled at banking and prospered especially when their Rome branch quietly became banker to the popes. They al