Opens: 29/01/2011 Closes: 18/03/2011 Whitechapel Gallery, LondonJohn Stezaker’s found and recomposed images are as beautiful as they are eerily uncanny. By reappropriating vintage movie stills, postcards and illustrations, Stezaker’s ambiguous collages serve to awaken and thrill the viewer’s optical senses. This comprehensive exhibition includes 90 artworks spanning the last four decades. For more information visit: http://www.whitechapelgallery.org/exhibitions/john-stezaker Buy: http://www.whitechapelgallery.org/buy-tickets
Evening Standard“Stezaker's first major career survey...” Whitechapel's excellent exhibition is Stezaker's first major career survey, yet he has been manipulating photographs and magazine pages over the past four decades. Working in isolation from dominant movements and tendencies in British art...
Time Out“Stezaker wreaks indignities on the human form...” Stezaker wreaks indignities on the human form and on our relationship with narrative truth, with very disturbing results. This retrospective shows a monomaniac, obsessive as a stalker, expressing an unchanging set of ideas in mildly different ways...
The Telegraph“Appealing directly to the irrational substrata of the imagination...” Stezaker’s art is perhaps too reliant on the avant-garde techniques of the past, but there’s no doubt that his insidiously disturbing images sidestep rational thought, and appeal directly to the irrational substrata of the imagination...
The Independent“Do see this show...” There's something there as well as humour, as well as Stezaker's uncanny eye for visual coincidence. It's funny but also sad, heartfelt but very, very clever. Do see this show...
Guardian“A revelatory tale about the origins of Stezaker's luminous art...” The English artist John Stezaker, whose uncanny collages are the subject of a career-spanning exhibition at the Whitechapel Gallery, tells a revelatory tale about the origins of his luminous art...
Financial Times“Bang up to the minute...” Stezaker works on types of imagery that are already profoundly nostalgic; his inquiry is rooted in the historical treatment of pictures. But for all that, it remains bang up to the minute...
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