Arts Reviews

The good, bad and ugly in arts and exhbitions

Thursday

Roderick Conway-Morris

Venice Biennale: from unusual sexual obsessions to a primary school Open Day

William Empson believed that ‘the arts are produced by overcrowding’. But, as 20,000 invited guests and 4,500 accredited journalists surged through the pavilions of the Giardini and Arsenale on the 55th Venice Biennale’s preview days last week, it was more a case of overcrowding being produced by the arts. Over the past 20 years the Biennale has inexorably expanded with every edition. In 1993, 53 countries were represented. This year there are 88, with Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu and the Vatican officially appearing for the first time. There are nearly 50 official collateral events and scores of other exhibitions around town.

Andrew Lambirth

Exhibitions: Leon Kossoff, The Bay Area School

Paint is but coloured mud, pace scientists and conservators, and it can be said that the human animal comes from mud and goes back to it. Thus are the activities of painting and being human linked at a fundamental level, which can be raised by consciousness to impressive heights. As the philosopher T.E. Hulme wrote, ‘All the mud, endless, except where bound together by the spectator.’ This is an apt description of an exhibition by Leon Kossoff (born 1926). Kossoff paints thickly with much piling up of the mud of paint, which is trenched and seamed and dribbled across the surface of board supports. He is a pupil of David

Alistair Elliot

Seals (Iona)

No angels listen when you cry out here, but seals rise up to see, and criticize perhaps, as you intone the omega (their favourite vowel) or the medical alpha (sticking your tongue out) for these gods of ocean. Words wouldn’t do. There are no consonants in the mouths of seals. They can appreciate only the modified howl, the growly roar, and perhaps the loudest purr a man can make. It’s not the singing; that just summons them. It’s curiosity that makes them stand in the water on their useless feet, to stare at the creature with two tails, unnaturally split beside its genitals, the loose skin, the weed that seems

Deborah Ross

Michael Douglas is 68 – and for the first time, as Liberace, vaguely sexy

Behind the Candelabra is Stephen Soderbergh’s film about Liberace, starring Michael Douglas and Matt Damon, and already you will have heard two things which, naturally, you will need me to confirm so you can move on with your life. These two things are: 1. It is fabulous. 2. The film was ultimately funded by the television channel HBO, as Hollywood declared it ‘too gay’. I will now deal with both: 1. Yes. It is fabulous. No other word for it, unless that word is ‘glorious’. 2. True and, if I had the time, I would go to Hollywood and knock their heads together. Saying this film is ‘too gay’ is

Clarissa Tan

Sex! Soap! Starkey! The Tudor invasion of British television

The Tudors have invaded television. Everywhere you look, it’s Henry VIII this, Henry VII that, Anne Boleyn this, Anne of Cleves that. On BBC2 is the continuing drama series The Tudors, whose Henry VIII looks like the lead singer in a boy band who’s stumbled on to the wrong film set. At any moment, you expect him to announce the execution of Anne Boleyn with those jabbing-the-air hand gestures that boy-band members use to semaphore emotion. Lushly soap operatic, The Tudors depicts the royal court not so much as a place of high political intrigue but as a hearth for dynastic family troubles where improbably good-looking people have lots of

Michael Tanner

Opera: Is Philip Glass’ trying to bore his way into immortality?

First nights at English National Opera are, in the main, matters for a sociologist rather than an opera critic. That emphatically wasn’t the case with Wozzeck, but that is an acknowledged grim masterpiece, though still, nearly 90 years on, enough to put off casual opera goers and trendies. But the succession of vacuous new works that ENO has mounted in the past few years has attracted audiences, at any rate first-nighters, of a kind that one doesn’t see at any other operatic performance. They arrive early to kiss and shout and drink champagne, they trickle into the auditorium very slowly, stopping for many hugs on the way to their seats,

Lloyd Evans Lloyd Evans

Theatre review: Below par Mamet is still more fun than a personal-best performance from a second-rater

Mamet is back. His 2009 play Race is an offbeat courtroom drama set entirely in a lawyers’ office before the trial begins. Jack and Henry are two hotshot attorneys, one white, one black, who must decide whether to accept the case of a prosperous banker, Charles, accused of raping a black woman in a hotel. Jack and Henry have a young black trainee, Susan, whose ethnicity and gender may help them sway the jury. The case against Charles turns on sequins. The victim swears that her dress was torn off during the attack but a hotel cleaner found no sequins on the floor. Sequinned attire is naturally deciduous, or, as

Kate Chisholm

Radio review: Coronation Day Across the Globe

Coronation Day 1953 could have marked the end of radio as we know it. No one wanted to listen to the commentary from Westminster Abbey. Everyone wanted to see what was going on. Hearing could not, it was thought, be as effective an act of witness as viewing the glittering diamonds, the gleaming satin, the pageantry, the pomp and the extraordinary sight of the weight of royalty, both physical and metaphysical, being bestowed on so slight a young woman. Those who had the money rushed out to buy a Regentone table TV or a Baird Townsman. Those who couldn’t afford to buy or rent a TV begged a neighbour to

Lloyd Evans Lloyd Evans

Interview: Theatre director Marianne Elliott on really, really good and bad plays

Ah! Here comes the girl from the temping agency. That’s my first reaction when I meet Marianne Elliott, director of the global hit War Horse, and winner of this year’s Olivier for her work on The Curious Incident of the Dog in the Night-time. She’s a trim, attractive fortysomething with a neat blonde bob and she wears a shrill turquoise blouse of the kind favoured by Romford copy typists in the 1980s. Her blue eyes are amazing — huge, screen-goddess orbs, which shine with an exceptional brilliance and clarity. She’s two weeks into the rehearsal period for her next play, Sweet Bird of Youth, at the Old Vic, which stars

Nicola Mccartney

Culture note: Curiosity: Art and the Pleasures of Knowing, Turner Contemporary, Margate

An oversized St Bernard’s body masked with a sheep’s head and a regal peacock with penguin feet and flippers punctuate the start and end of Curiosity: Art and the Pleasures of Knowing at Turner Contemporary, Margate (until 15 September), curated by Brian Dillon. Art and artifacts from around the world represent the glory, revelations and threat of mankind’s inquisitive nature. Thomas Grünfeld’s taxidermy misfits are just two examples of a witty and wondrous collection of objects that we wouldn’t usually have the opportunity to view outside their own dedicated museums or private homes. Inspired by the cabinets of curiosities that flourished throughout 17th-century Europe, Curiosity displays previously unseen oddities, products

Christopher Booker

Timothy Birdsall – the greatest cartoonist you’ve never heard of

Few people under the age of 65 will have heard of the cartoonist Timothy Birdsall, who died 50 years ago on 10 June 1963, having produced his finest work in the last months of his life here in The Spectator and  in Private Eye. But had his career not been cut cruelly short by leukaemia at the age of only 27, he would today be revered as one of the outstanding cartoonists of our time. Tim was part of that talented late-1950s Cambridge generation, along with a galaxy of others later to become famous, from Peter Cook to Ian McKellen. On coming down in 1960 he was employed to do pocket

Robin Robertson

The Straw Manikin

after Goya The hooded penitents have passed – the shackled Nazarenos holding their long candles – and the altar boys, carrying the trappings of the Passion on their pillows: the hammer and nails, the crown of thorns, the chalice and the pliers; the soldiers’ flail, the soldiers’ dice. What shall we give him? The straw man is sick. We’ll finish him off, and beat him with sticks. The pasos have drifted away: statues of full-size wooden Christs and Virgins painted till they came alive – glass eyes, glass tears, eyelashes of human hair, ivory teeth and nails – on floats borne by fifty men, invisible under curtained palanquins. Poor puppet,

Declan Ryan

Trinity Hospital

There was a gunboat on the river when you led me to your new favourite spot: a home for retired sailors; squat, white, stuccoed, with a golden bell. It could have been a lost Greek chapel, a monument to light, designed to remind the old boys of their leave on Ionic shores among tobacco and fruit trees. Just after rain, sunlight stood between us like a whitewashed wall. You were lit skin, gilt and honey, dressed in olive. No paper trail connects us. No procedure of law would tell you where to stand in your sleek black mourning dress if I die but as you turned towards me the golden

Thursday

Christina Patterson

‘Basically, we’re stuffed’

You might expect a chief executive of English Heritage to look quite English, and Simon Thurley certainly does. He has the pale eyes, and fine bones, of the English upper classes. He has the clipped vowels of the English upper classes, too. In his nice pink shirt, in his nice white office, in a nice big Victorian building near Chancery Lane, he has the air of a man who lives a nice, quiet, clean, ordered life. He also has a very big job. He looks after, or at least the organisation he runs looks after, more than 400 historical sites. He advises the government on ‘England’s historic environment’, which must

Andrew Lambirth

Exhibitions review: William Scott

The centenary celebrations for William Scott (1913–89) are well under way, and the retrospective of his work that started in January at Tate St Ives is currently in Wakefield. There are more works in its latest incarnation and more archive material, and the installation looks very impressive in The Hepworth’s riverside galleries. Scott has not always fared well in historical surveys of 20th-century British painting (he was famously excluded from the Royal Academy’s 1987 exhibition), and his reputation does not stand as high today as it might. In his lifetime, he was much acclaimed, represented this country at the 1956 Venice Biennale and enjoyed a significant degree of international esteem.

Steerpike Steerpike

David Goodhart makes Hay

What a pity. It seems that Dave Goodhart, director of Demos and editor-at-large of Prospect, has made peace with the Hay Festival organisers, who decided against showcasing his new book on immigration on the annual luvvie field trip. Hay Director Peter Florence described Goodhart’s The British Dream as ‘sensationalist’, and apparently told Goodhart that Hay stood ‘for pluralism and multiculturalism’ and that he is half-Italian. Goodhart hit back at these ‘ultra-liberal, slightly lefty multiculturalist’ views, saying:  ‘it’s [the book] probably been more widely reviewed than any non-fiction book so far this year – both favourably and unfavourably, so when my publisher said there was no interest from Hay I was

Mary Keen

Notes on…the great English garden

‘Write about the best English gardens,’ says the email from the deputy editor, ‘or what makes a good garden?’ That’s a bit like saying, ‘write about the best paintings, or the best music.’ Beauty is in the eye of the beholder and we now behold so many varieties of English garden that it is hard to tell what Englishness is any longer. But it is probably safe to say that the trend is no longer lavender and roses and formal enclosures of yew and box, nor grassy parks with statues and studied references to high learning. When Kent leaped the fence in the 18th century and saw all nature as

Harry Mount

Catherine the Great’s purchases returned to Houghton Hall

When the Marquess of Cholmondeley inherited Houghton Hall, the Palladian palace by Colen Campbell and James Gibbs, he started rootling through the cupboards and drawers. In one drawer, he found a treasure map — the original picture-hanging plan for the house, as built by his ancestor Sir Robert Walpole, Britain’s first prime minister. The only problem was, he didn’t have the pictures any more — Walpole’s cash-starved grandson had flogged them to Catherine the Great in 1779, in a sale arranged by James Christie, founder of the auction house. Now the best pictures have been brought back, mostly from the Hermitage, in a show (until 29 September) that is less

Kate Chisholm

Radio review: The Truth about Mental Health, Yes, Nina Conti Really Is on the Radio

‘Grief is work,’ said one of the parents of the teenagers killed by Anders Breivik on the island of Utoya in Norway. ‘To deal with grief — that’s work from the moment you wake up till the moment you fall asleep. And even then many people struggle with their grief when they sleep.’ His frank, no-nonsense approach was striking given that he had experienced probably the worst thing that could happen: to lose a child and in such a terrible way. He was talking to Claudia Hammond for her new World Service series, The Truth about Mental Health (Fridays). The six programmes take us on a global tour of the

James Delingpole James Delingpole

Why watching Britain’s Got Talent is like giving yourself a lobotomy

The kids are back for half-term so we’re having to watch absolute crap again on TV. Monday night, I wanted to watch The Fall (BBC1). But I couldn’t, obviously, because Britain’s Got Talent (ITV1) was on. ‘Dad! Dad! You’ve got to see this!’ So I come in to see what I’ve got to see and it’s a man called Aaron Crow whose unique and remarkable skills are that he never speaks, he has an interesting haircut, and he does mildly scary magic tricks which aren’t quite as good as Dynamo’s. Also he pronounces his name ‘Aran’ — as in sweater. Is this some other annoying new trend I didn’t know