Contemporary art

The art-history books will tell you that sometime around 1912, Picasso invented collage, or, actually, perhaps it was Braque. What they mean is that sometime around 1912 a man of sufficient standing took up a technique that had been quietly practised in largely domestic spheres by a largely female army of amateurs, and applied it in his own work. Cue the universal astonishment of observers who pretended they had never seen such a thing before. This narrative has been recycled ever since, assuring us that the collage techniques that shaped the language of dada, surrealism and all the other isms that made up modernism, as well as pop art and

‘Playing God is indeed playing with fire,’ observed Ronald Dworkin. ‘But that is what we mortals have done since Prometheus, the patron saint of dangerous discoveries.’ There’s no Prometheus in the RWA’s new exhibition Fire: Flashes to Ashes in British Art 1692–2019, but there are plenty of flames, some dangerous, some not. The third in the Bristol gallery’s trilogy of shows on elemental themes, following The Power of the Sea (2014) and Air (2017), Fire features the most dramatic of the four elements, and the most fun to paint. Artists love playing with fire. It’s a subject that has held audiences in thrall since medieval worshippers were kept on the

Plastics — even venerable, historically eloquent plastics — hardly draw the eye. As this show’s insightful accompanying publication (a snip at £3) would have it, ‘Plastics have no intrinsic form or texture, thus they are not materials that can be true to themselves.’ They exist within inverted commas. They can be shell-like, horn-like, stony, metallic — they do not really exist on their own behalf. Mind you, the first vitrine in Raw Materials: Plastics at the Nunnery Gallery in east London contains an object of rare beauty: a small, mottled, crazed, discoloured sphere that looks for all the world like the planet Venus, reduced to handy scale. It’s a billiard

It was bucketing it down in Venice, yet the beach was heaving. Families, lovebirds, warring kids, a yappy mutt, all strewn across a sandy expanse, basking on beach towels. Balls were bounced, crosswords filled, timelines scrolled. Out of this idleness, songs would bubble up, light billowy airs — speaking now to suncream mundanities, now to geological anxieties — whisked up to our ears as if on a cooling breeze. We were in the Lithuanian Pavilion inside a dilapidated former military storehouse in a corner of north Venice, being given a god’s-eye view on an extraordinary new opera, Sun & Sea (Marina), by a Lithuanian trio: composer Lina Lapelyte, director Rugile

All good narrative painting contains an element of allegory, but most artists don’t go looking for it on a Coventry council estate — unless, that is, they happen to come from there. Since starting his Scenes from the Passion series while at the Royal College in the 1990s, George Shaw has been painting the Tile Hill estate where he grew up. In 20 years he has produced 200 images of the same square mile, revisiting the pubs, library and short cut to the shops of his youth, winkling out the Englishness of the place while lamenting the decline of its fabric and post-war community spirit. Tile Hill is Shaw’s Cookham,

Art movements come and go but surrealism, in one form or another, has always been with us. Centuries before Freud’s scientific observation that the stuff of dreams will out, artists were painting it. The English have never been much cop at surrealism — too buttoned up; the Celts are better. The Scottish painters Alan Davie and John Bellany, jointly celebrated in Newport Street Gallery’s latest show, Cradle of Magic, were both surrealists in different ways. Both attended Edinburgh College of Art — Davie in the late 1930s, Bellany in the early 1960s — and both came out fighting in a punchy style of painting combining expressionistic brushwork with strong colour.

If you want to lose friends and alienate people in the art world, try telling them you support Britain leaving the EU. As someone on the left, I’ve always argued a left-wing case for leaving. It is, to say the least, an unfashionable position, usually met with anxious looks, sullen silence or overt hostility from one or other artist, curator or art bureaucrat. That the art world should be against Brexit should come as little surprise. It’s striking, however, how far art has become involved in the burning political questions and controversies of the moment, to the extent that making art is often seen as nothing more than an extension

‘Those who can, do; those who can’t, teach.’ If there’s an exception to prove Shaw’s rule, it’s Phyllida Barlow. The 40 years the sculptor spent teaching at the Slade, where her pupils included Rachel Whiteread, have not only left her creative energies intact, but completely failed to keep a lid on them. After turning Tate Britain’s Duveen Galleries into a cross between a lumberyard and an enchanted forest in 2014, then filling the British Pavilion to bursting point at the 2017 Venice Biennale, the septuagenarian who can conjure a sculptural wonderland from the contents of your local branch of Travis Perkins has been let loose on the Royal Academy’s Gabrielle

Somewhere in the bowels of the Tehran Museum of Contemporary Art is a portrait from a lost world. Its subject is a beautiful young woman: Her Imperial Majesty, Empress Farah Pahlavi of Iran. The condition of the work, however, a luminous print by Andy Warhol from 1977, is so bad that it could be a metaphor for Iran itself. Fundamentalist vandals have slashed at it with knives. The Empress — forced into exile when the Iranian Revolution overthrew her husband, the Shah, two years after the portrait was completed — discovered this upsetting news while watching French TV in her Paris apartment. ‘Seeing that, I said, “They are stupid”,’ she

The Spectator is responsible for many coinages. One of the most significant came in 1968, when an article by our 24-year-old music critic, Michael Nyman, appeared with the headline ‘Minimal Music’ (reprinted below). It was a wry joke about music that was more experimental than strictly minimal but it stuck and a musical style that, whatever you think of it, has rarely been matched in influence or reach was born. Walking home from the Fugs’ concert, organised by the Middle Earth at the Round House last week, I was shocked by the 4 a.m. silence — by its awesome superiority to a lot of modern music, and by its unfamiliarity.

Just in front of me, visiting Spellbound at the Ashmolean last week, was a very rational boy of about seven and his proud mother. ‘I don’t believe in magic, witches or Father Christmas,’ he announced to the girl presiding over Room One. ‘Perhaps you’re spiritual but not religious,’ said the girl. The rational boy gave her the look she deserved. In that first room pride of place is given to a squat little silvered bottle with a hand-written label: ‘Obtained in 1915 from an old lady living in Hove, Sussex. She remarked: “and they do say there be a witch in it, and if you let un out there’ll be

Antony Gormley has replicated again. Every year or so a new army of his other selves — cast, or these days 3-D fabricated, in bronze, iron, steel — emerge from his workshop. Some lucky clones find themselves in wild and beautiful places; others are trapped in private collections. The latest clutch, generation 2018, find themselves in the new galleries at Kettle’s Yard, Cambridge (until 27 August), one sticking out horizontally from a wall, another, an airy stack of steel bars, staring down through a window into town. It’s called ‘Subject’, this work (also the title of the exhibition), and Gormley’s intention is that it acts as an invitation to each

Digital art is a crowded field. It’s also now older than I am. Yet despite a 50-year courtship, art galleries have been reluctant to allow it more than a toehold in their collections. Things are changing. Take MoMA’s visit to Paris last year. Alongside the Picassos and Pollocks was a very popular final room, made up of a single, beautiful computer-generated animation, in which a huddle of humans tramp across a constantly disintegrating landscape. ‘Emissaries’ (2015–17) is the work of the 33-year-old artist Ian Cheng, who two weeks ago opened his first show in the UK at the Serpentine Gallery. Cheng’s first inspirations were video games like The Sims, and

René Magritte was fond of jokes. There are several in René Magritte (Or: The Rule of Metaphor), a small but choice exhibition at Luxembourg & Dayan, 2 Savile Row W1 (until 12 May), that includes numerous variations, accomplished and disturbing, on similar ideas to his famous ‘Ceci n’est pas une pipe’ painting. ‘L’usage de la parole VI’ (1928) contains two amorphous brown patches resembling mud or merde or molten chocolate. They are labelled as if in a scientific diagram, one with the word ‘miroir’, the other ‘corps de femme’. It’s true that Magritte could be repetitive, but his early paintings are beautiful, and the humour had a serious point. We