Exhibitions

Of all the moronic decisions made by cultural organisations over the past 50 years, probably the most insulting and retrograde is the decision, in 2021, by Unesco to strip Liverpool of its world heritage status. Unesco said the development of the docks amounted to an ‘irreversible loss’. The regeneration of the waterfront, including the building

Taking place every October in Regent’s Park, the Frieze fair is probably the biggest event in London’s art calendar. It is also, as a spectacle, by far the least enjoyable. With works crammed into cubicle-sized booths, and punters battling a crossfire of air kisses and the palpable stress ricocheting around the flimsy partitions, I struggle

When Richard Ovenden of the Bodleian Library wrote to John le Carré asking if the writer would leave it his papers, he got more than he could ever have bargained for. Le Carré not only responded with enthusiasm, explaining that ‘Oxford was Smiley’s spiritual home, as it is mine’, but also sent along 85 boxes

The National Railway Museum is 50 years old, and it’s come over all literary. A quote from Howards End stands at the entrance to the newly refurbished Station Hall: railway termini, proclaims Forster, ‘are our gates to the glorious and the unknown’. T.S. Eliot salutes you on the way out: ‘You are not the same

So, the Turner Prize: where do we start? It’s Britain’s most prestigious art award, one that used to mean something and now attracts little more than indifference. Taking place every year, it grants £25,000 to a winner chosen from four shortlisted artists, all of whom are obliged to display work together either at Tate Britain,

This exhibition will be busy. You’ll shuffle behind fellow pilgrims. But it’ll be worthwhile. It’s a tour de force that tells the story of Marie Antoinette’s 17 years on the throne with detail, focus and flair. There are 34 items here that she owned personally – opulent, carefree objects that resonate with impending disaster. These

In Sunday in the Park with George, Stephen Sondheim catches something of what makes Georges Seurat so brilliant – not just his technical flair, but his engagement with ordinary life. Sondheim has Seurat sing, or rather woof, a little duet between two dogs meeting on the island of La Grande Jatte; later, Sondheim gives Seurat

Asolo exhibition opened at Oxford’s Ashmolean in October 1980 that appeared to mark the belated arrival of a major new painter. ‘For an intelligent artist to paint the familiar, and clearly to enjoy painting it,’ wrote critic and dealer David Carritt in the catalogue, ‘now demands single-mindedness and courage. Jean Jones has both.’ The city’s

August is always a crap month for exhibitions in London. The collectors are elsewhere, the dealers are presumably hot on their heels, and the galleries are filled with makeweight group shows staged to hold the fort until the end of the holidays. This year, however, even events of that kind are thin on the ground:

Jean-François Millet (1814-75). One Room. 14 items. Eight paintings. Six drawings and sketches. Modest, interesting. No masterpieces. The show appeals to the contemporary English preference for the unassuming, the humble, the unpretentious. Take ‘The Wood Sawyers’ (oil on canvas, 1850-2). Two figures are sawing a tree trunk with a long two-man bucking saw. Two thick

If you came to this show accidentally, or as a layperson, it could confirm any prejudices you might have about avant-garde sculpture. Pretentious, ugly and resorting to kink. Those pendulous string bags, that enormous turd – gimme a break. Except that would be a mistake. Because the work here is the real thing: the 1960s

Ditchling in East Sussex is a small, picturesque village with all the trappings: medieval church, half-timbered house, tea shops, a common, intrusive new housing developments down the road, a good walk from the nearest train station and the Downs on its doorstep. But the resonance of the place owes much to the remarkable artistic activity

Last month, I got the train down to Margate to interview the Egyptian-Armenian artist Anna Boghiguian (b. 1946), whose exhibition The Sunken Boat: A glimpse into past histories was about to open at the Turner Contemporary. Long story short, the conversation did not go well: Anna reacted to my questions with some irritation, swatting them

This show was largely panned in the papers when it opened in April, with critics calling it ‘awkward and snarky’, applying that sturdy English put-down ‘arch’, and generally carping at ‘rich insider’ Sir Grayson Perry for posing as an outsider artist. Word-of-mouth reviews were completely different, however, almost as if gallery-goers, free from the necessity

Slowly the canvas was unfurled across the concrete floor of a warehouse on an industrial estate in Suffolk. On and on it went, a flurry of paint marks and brush strokes, yellow, green and occasionally blue, like a cornfield at harvest time. By the time we got to the end some seven metres of it

Unesco doesn’t hand out world-heritage status to absences, but if it did, there would be memorials all over the western world to our genius in erasing death from our consciousness. We have airbrushed the deceased from our lives with a ruthless efficiency, banishing them to suburban cemeteries where they can spend eternity unvisited. Burials and

Through the grey downbeat years of postwar austerity, we nursed cheering fantasies of a life more lavishly colourful and hedonistic. Oliver Messel fed them: born into Edwardian privilege, the epitome of well-connected metropolitan sophistication, he doubled up as interior decorator and stage designer, creating in both roles a unique style of rococo elegance and light-touch

The most-watched TV programme in human history isn’t the Moon landings, and it isn’t M*A*S*H; chances are it’s Ramayan, a magnificently cheesy 1980s adaptation of India’s national epic. The show has a status in India that’s hard to overstate. Something like 80 per cent of the entire population watched its original run; in rural areas