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Rose McLaren

Rose McLaren is an artist in London.



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Talk Into My Bullet Hole

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July 2015

Rose McLaren

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July 2015

‘Someday people are going to read about you in a story or a poem. Will you describe yourself for those people?’ ‘Oh, I don’t...

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May 2014

Art Does Not Know a Beyond: On Karl Ove Knausgaard

Rose McLaren

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May 2014

Karl Ove Knausgaard’s My Struggle has an oddly medieval form: a cycle, composed of six auto-biographical books about the...

The memorial for the artist was as inconclusive as her work, or anybody’s life Organised haphazardly on Facebook by one of her old friends, it was held beside the ‘lake’ in Echo Park in the middle of a heat wave on a summer Sunday afternoon For an hour after the appointed time, ten or twelve of us sat around in thin wedges of shade waiting to see if others would show up But no one did  — Chris Kraus, What I Couldn’t Write, 2016   While Julie Becker’s death rites were sparsely attended in 2016, the ICA’s 2018 summer retrospective of her work was one of many, much-discussed tributes in the UK to the art of dead young women In May, Tate Liverpool mounted a bumper anniversary show of Francesca Woodman’s ‘intimate’ portraits, alongside the work of fellow doomed youth Egon Schiele By the time of its close in November, the V&A’s display of Frida Kahlo’s paintings, together with her clothes, make-up and prosthetic leg, will have been consumed by visitors in the hundreds of thousands This summer, almost fifty years since Linda Nochlin raised and responded to the question: Why Have There Been No Great Women Artists?, viewers have had ample opportunity to gorge on the artwork of consecrated women A current problem seems to have less to do with a lack of women artists, or their invisibility, and more with the predominant status of these women as dead and, often, dead young   From the Guardian to the Daily Mail, critics expressed resounding displeasure with the V&A’s ‘excessive adoration of a dead woman’s stuff’ borne out in its brazen display of ‘more pill bottles than paintings’ in its Kahlo exhibition In the Guardian, Jonathan Jones found the decision to co-cast Woodman and Schiele on the basis of their shared premature demise to be ‘so shallow and patronising that it suggests Tate Liverpool has lost all respect for its audience’ We, the audience, are left only to ponder our facile, morbid attraction, both to these artists and to their ‘stuff’   In the disproportion of dead-to-living women on show, there is an element

Contributor

August 2014

Rose McLaren

Contributor

August 2014

Rose McLaren is an artist in London.

The Prosaic Sublime of Béla Tarr

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Issue No. 6

Rose McLaren

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Issue No. 6

I have to recognise it’s cosmical; the shit is cosmical. It’s not just social, it’s not just ontological, it’s really huge. And that’s why we...
Stalker, Writer or Professor? Geoff Dyer's Zona and Genre

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February 2012

Rose McLaren

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February 2012

‘So what kind of a writer am I, reduced to writing a summary of a film?’ wonders Geoff Dyer half way through Zona. Such...

READ NEXT

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Issue No. 2

Three Poets and the World

Caleb Klaces

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Issue No. 2

In 1925, aged 20, the Hungarian poet Attila József was expelled from the University of Szeged for a radical...

poetry

February 2013

Social Contract

Les Kay

poetry

February 2013

Formally, I and the undersigned— What? Use, like Mama said, your imagination if you still have one where scripts...

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Issue No. 9

The White Review No. 9 Editorial

The Editors

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Issue No. 9

This ninth print issue of The White Review is characterised by little more than the continuation of the principles...

 

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