Art Weekend Away from London

"Instead, it sees Venus as a cheap Roman substitute for the original Greek love goddess Aphrodite, who in turn is exposed as a ripoff of a matriarchal deity once worshipped on Cyprus. The result is a mixture of world-class loans and an archaeological hobbyhorse."

The Guardian

"It is a worthwhile endeavour, searching for a contemporary conversation for Murtha's work, but Close to Home feels quite far off the mark. That Murtha and Ryniewicz are outstanding photographers is indisputable; that they cohere effectively in this exhibition is less convincing."

The Guardian

"It's outer space, distant stars, planet Earth, the birds and bees and trees all right here, in this exact moment. It's a portrait of you in the universe, a picture of its vastness and your own little place in it."

The Guardian

"Like magic tricks, these paintings attract your gaze but do not hold it for long. My lingering feeling was that this was no longer a failure: the artist preferred, for reasons of temperament, to excite the eye rather than trouble the mind."

The Guardian

"It’s either a cry for help or a scream into the void. Whichever it is, Mike Nelson’s latest exhibition is the English artist at his most frustrated, scared, introspective and personal. This is a show filled with rot and dilapidation, insanity and dereliction."

The Guardian

"The best work, by contrast, finds strangeness in the familiar, and summons a forceful, idiosyncratic poetry. Paul Nash and Ivon Hitchens are the stars, although a couple of free-and-easy drawings by Peter Lanyon, inspired by gliding above Cornwall, are thrilling – and don't deserve to be stuffed in a corner."

The Telegraph

"It's adorable, and sets the tone for a photographer who doesn't flinch from reality, but whose lens is always kind. Nobody here is being judged or exposed, regardless of how much clothing they're wearing."

The Times

""Our work in life is to develop ourselves and so fulfil our destiny," John wrote to her friend Dorelia McNeill in 1904. This show is a beautiful testament to that."

The Times

"But the good stuff here – the shacks and Frustulas – is exceptional. It’s not just morose memorialising of brutal history: it’s a joyful celebration of ingenuity and survival in a world of inequality. As rickety as they look, these shacks tell a story that’s built to endure."

The Guardian

"There is not enough space (in this article, on the internet) to adequately describe the bands of colour that Hokusai gives to the skies through pine trees and plum gardens (one literal translation of mono no aware is “the ah!-ness of things”, which is perhaps as close as we can get)."

The Guardian

"These many hands and hours make Entangled and Woven an exquisitely beautiful exhibition. Every slip of fabric is layered with delicate detail and texture. Fabrics are airy and ethereal one moment, and weighty and dipped in deep indigo the next."

The Guardian

"After centuries of colonialism and exploitation, there's just so much anger and pain here. This show isn't just about the earth and memory, this is art as a form of aesthetic resistance. It's hard not to see these ideas of stolen land and colonialism through the lens of Trump's regime with its ICE raids and travel bans."

The Guardian