STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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An elevating sermon
In Theaster Gates’s work the spiritual and the utilitarian are inescapably conjoined to offer comfort and hope, believes MICHAL BONCZA
(L to R) Future Walls 2015-16; Chorus, 2016
[M Boncza]
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DIANE WATT argues that while evidence of sex is not there, a 16th‑century lesbian poet could be Scotland’s answer to Gentleman Jack
Theaster Gates: A Clay Sermon
Whitechapel Gallery
CLAY SERMON is what it says it is – a measured, uplifting visual oration on the constructive companionship humans and clay have had in the last century or so.
In the wide open square spaces of the Whitechapel gallery two dozen or so works illustrate Theaster Gates’ spiritual and utilitarian creative range.
Humans and clay got truly acquainted in the Neolithic period –about 13,000 years ago – which is often referred to as the Age of Clay. Rather surprisingly this coming together manifested itself almost simultaneously across the entire globe and, with very few technological adjustments, has served us well until the present.
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