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Royal Academy of Arts, London
It is packed with thrilling works by Pollock, Rothko and the rest, but this major exhibition is also overloaded and erratic with little space for female artists
There are beautiful, marvellous and terrifying things in the Royal Academy's much-trumpeted survey of Abstract Expressionism. What more could one ask in a show including the explosive and tender Jackson Pollock; De Kooning swerving and jumbling and dismembering his frightening figures of women; Rothko's tangy brightness and trembling, tremulous darkness; Barnett Newman's zips and planes and intervals; Guston's dirty abstract impressionism in which figures wait to be unleashed. Franz Kline's angled black and white incidents; Arshile Gorky's quietly writhing accretions: they are all here. I wanted to be blown away, and to reconnect with a kind of painting that once had me in its thrall, and whose traces and impulses continue to be felt into the 21st century. I wanted to see it in some new and instructive way, but I didn't.
From Gorky's querulous biomorphs to one of Rothko's very late grey and black images of emptiness and closure, I struggled. Overloaded, frequently puzzling and erratic, this is an exhibition whose pleasures and there are many come at a price. For all its key works, and also because of them, it often flattens out signal achievements, with deadening juxtapositions and clunky sightlines. While the biggest names get rooms to themselves, others fight it out in thematic displays that deaden individual works and achievements.
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What united the artists was ambition, turned into the method-actor romanticism of cold lofts, bad coffee and fights
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