One of the delayed joys of visiting galleries post-pandemic is being able to see amazing works of art close up, in real life, and in the company of others (although my favourite day is often at the beginning of the week, when no-one else is around and I get the chance to enjoy the space all to myself). After each visit, my intention is always to add a review to this blog, but alas, a chore or commitment would soon come calling, leaving only a memory of the event in my already crowded mind.

With the year being almost half way, it would make sense to catch up on the standout exhibitions of last year, and in my next post, talk about the ones I’ve yet to see.

Carrie Mae Weems and Hiroshi Sugimoto are two very different artists, but they share some similarities; both are polymaths with a multi-disciplinary approach that moves seamlessly through different genres. While both are best known for their photography, visiting their expansive retrospective shows at the Barbican (Weems) and the Hayward (Sugimoto), it was evident that there was so much more to their artistry. I was already a fan of Sugimoto’s seductive, minimalist seascapes and often revisited them at times when I needed this space to clear my mind.

Despite her longevity, I was perhaps less familiar with Carrie Mae Weems’ reflections on her time spent in Rome, where she explores the power of architecture and empire by placing herself, a woman of colour, in positions next to historic museums; an exploration that she continues to mimic in other locations around the world. I was blown away by both shows and left each space with the urge and the desire to revisit once again.