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11 January
Paul Klee : Making Visible at @Tate Modern. A chronological survey, or the best of his work at each time ? Gems like Fish Magic, but...
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 11, 2014Indeed, @Richardianheys - though I am unconvinced that @Tate always had access to the best work, or interpreted his place (e.g. Bauhaus)...
— THE AGENT APSLEY (@THEAGENTAPSLEY) March 8, 2014Paul Klee : Making Visible at @Tate Modern. By all means, buy The Pedagogical Sketchbook in the shop, but why no interpretative display ?
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 11, 2014Paul Klee : Making Visible at @Tate Modern. Schwebendes does not mean Hovering, Tänzerin has a gender - Female Dancer.
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 11, 2014Paul Klee : Making Visible at @Tate Modern. The room with similar paintings (Room 15 ?) does not contain or refer to pic.twitter.com/KTYsS3k0co
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 12, 2014I believe the curatorship is heavy on reading philosophy and its concepts into art, @EMDeWachter @Tate @tanyabarson : http://t.co/BI88WSHiEz
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 11, 2014Considering the @Tate Klee and Hamilton shows, are they always best chronological, with a roomful of Pointillism out of sheer habit ?
— THE AGENT APSLEY (@THEAGENTAPSLEY) March 2, 2014If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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