Contemporary art

One day, somebody will stage an exhibition of artists taught at the Slade by the formidable Henry Tonks, who considered Cézanne a ‘curiously incapable’ menace, and a cracking show it will be. Until then, we must take what we can from exhibitions like True to Life: British Realist Painting in the 1920s & 1930s. Here, many of Tonks’s pupils, and others schooled with similar exactitude, can at last reclaim their rightful positions in British art after decades in the wilderness, pushed into the shadows by the alpha art of abstraction and the ironies of pop. True to Life is a marvellous show. The portraiture is the stand-out stuff, dominated by

There isn’t a luxury ship that wouldn’t look better for having sunk. Barnacles and rot bring such romance to the lines, like spider webs in the sea. Even the decay Damien Hirst has applied to his Treasures from the Wreck of the Unbelievable is quite appealing. It crawls over many of the objects that he claims to have salvaged from a shipwreck of the 1st or 2nd century ad. A mouldering Mickey Mouse. A bronze portrait of the artist encrusted in faux-coral. It’s Trimalchio meets Disneyland meets Twenty Thousand Leagues Under the Sea. It so happens that Hirst’s exhibition at the Punta della Dogana and Palazzo Grassi in Venice (until

‘There is only one thing worse than homosexual art,’ the painter Patrick Procktor was once heard to declare at a private view in the 1960s. ‘And that’s heterosexual art.’ It would have been intriguing to hear his views on Queer British Art at Tate Britain. All the more so since it includes several of his own works, including a fine line-drawing study of the playwright Joe Orton, completely naked except for his socks — which he kept on because he felt they were sexy — and reclining somewhat in the manner of Manet’s Olympia. In fact, many of those included might have had reservations — Oscar Wilde, for example, one

These days the world is experiencing an unprecedented overload of photographs, a global glut of pictures. More and more are taken every day on smartphones and tablets. They zip around the world by the billion. When I went to Wolfgang Tillmans’s exhibition at Tate Modern, the galleries were full of people taking snaps of the exhibits. Some visitors posed to have their pictures taken in front of the larger ones — huge photographic prints of such diverse subjects as the waves of the Atlantic Ocean, a weed growing in a London garden and a hugely enlarged close-up of a male bottom. These, and a great many more, are shown in

It took a while for Brigid and I to get to know each other, not to mention like each other. But then it was total lifelong devotion. At first, when I started out at Interview, in 1970, Brigid would give me The Glare, which was the negative equivalent of Nancy Reagan’s The Gaze. One or two seconds of that killing look were enough to put across Brigid’s message: stay away. But a few years later, she gave up speed, moved to a proper apartment on East 22nd Street, and took a steady job as receptionist and transcriber of Andy Warhol’s tapes at the new Factory at 860 Broadway. That was

For a 21st-century gallery, a Victorian collection can be an embarrassment. Tate Modern got around the problem by offloading its Victoriana on to Tate Britain, but York Art Gallery decided to make the best of it. As the birthplace of William Etty, York found itself lumbered with a major collection of work by a minor Victorian artist whose reputation nosedived after his death. While Etty’s statue still dominates the gallery forecourt, most of his paintings languish in the stores. For contemporary audiences, though, he has a USP. An avid frequenter of the life room, Etty acquired a mastery of flesh tones and a penchant for painting nudes that many of

In 1992 I wrote a column that was published under the headline ‘It’s Time to Split the Tate’. To my absolute astonishment, shortly afterwards it was announced that this would actually happen (no doubt a coincidence rather than a response to my words). Hitherto, though it is hard now to recall those times, there had been just a single Tate gallery in London — the one on Millbank, containing a cheerful jumble of British painting from the Tudor era onwards mixed with what was then described as modern ‘foreign’ art. Eventually, Tate Modern opened and became one of the most prominent features on the cultural landscape, not only of London

‘In many ways,’ Georg Baselitz muses, ‘I behaved against the grain of the times I grew up in.’ The era was 1960s Germany; in that context, Baselitz feels he was subversively respectable. ‘For example, I never took any drugs. I have been a very faithful husband, I just wanted to hold on to my wife, I wasn’t interested in straying. I never went on any political demonstrations.’ His major offence, however, was not what he didn’t do but what he actually did: paint figurative pictures. Eventually, fashions reversed, and this perverse behaviour made Baselitz a celebrated figure in the world of art. At 78, he remains vigorously productive. We were

Over the next five weeks, visitors to East London’s Chisenhale Gallery will find the metal doors closed and a notice outside, in museum-style text, stating that the exhibition by Maria Eichhorn entitled 5 Weeks, 25 Days, 175 Hours consists of the staff not working and the gallery being shut. It then states that the exhibition ‘opened’ with a symposium on the first day of its run and that audio recordings of it are available on the website. Closing a gallery for the duration of an exhibition is not a new artistic strategy. Daniel Buren blocked the door to his solo exhibition at Galleria Apollinaire, Milan, in 1968 and the following

Ape Forgets Medication: Treyfs and Artknacks Londonewcastle Project (28 Redchurch Street, E2), until 23 April Process, means, method: it was these rather than the results which initially fascinated me. There was an unmistakable exhilaration in discovering that I was not merely learning a new language but that I was creating a language peculiar to myself. Given that it was non-verbal the word ‘language’ is inappropriate. In every instance the words, the capricious titles I have appended to the works (the treyfs and artknacks) came after. Treyf signifies that which is not kosher. Artknack is a neoligism which suggests arts, a knack or facility, a knicknack or cheap bling, arnaque (French for a

Last September a photograph of three-year-old Aylan Kurdi’s lifeless body washed up on a beach near Bodrum made headlines around the world. The image had a significant effect on shifting public perception to the Syrian refugee crisis as well as sparking a debate around the ethics of the circulation of such images. Academics at the University of Sheffield have estimated that 53,000 tweets were sent per hour at the height of the image’s circulation reaching 20 million people around the world in 12 hours. Last week, over four months after the image appeared, the Chinese artist Ai Weiwei made his own contribution to the debate in a photograph which depicts

Brian Sewell, who died last month, was not popular with his fellow critics. He accused them of kowtowing to power, of puffing up every trendy artist put forward by the galleries and collectors. Of ‘arse-licking’, to be precise (see for example this exchange with Matthew Collings). They could brush off this charge easily enough: Sewell just didn’t get modern art, they said; he hankered for the clear hierarchy of value of the old days. And so he couldn’t really fulfil the function of a critic: to help the public to make sense of the art of our day. Fair point: he was insufficiently sympathetic to contemporary art. And yet he was

James Turrell gave me extremely precise instructions. After dinner, I was to walk out through the grounds at Houghton Hall to the skyspace he has built. Here I should observe the gradual darkening above as brightness fell from the Norfolk air. At 9.40 p.m., I was to join him and the Marquess of Cholmondeley to witness the illumination Turrell has devised for the west front of the house. So we stood in the chill air of an English summer evening and watched as a slowly changing sequence of pinks, mauves, blues and reds lit up the colonnades and Palladian windows designed in the 1720s by Colen Campbell and the domes

In his introductory remarks to the Afro–Eurasian Eclipse, one of his later suites for jazz orchestra, Duke Ellington remarked — this was in 1971 — that east and west were blending into one another, and everyone was in danger of losing his or her identity. Nowhere is it easier to observe that phenomenon than on the little island of Naoshima, in the Seto Inland Sea of Japan, which I visited last month. Naoshima possesses sandy beaches and tranquil blue waters dotted with further islets stretching towards the horizon. But this is an especially heavenly spot for a relatively small and specialised, even eccentric, group of travellers. For more than two

At the start of Canto XXI of the ‘Inferno’, Dante and Virgil look down on the pit of Malebolge, the Eighth Circle of Hell, in which sinners guilty of simony, hypocrisy and graft are punished. The last of those spend eternity immersed in a river of bubbling pitch. This sinister black liquid, the poet noted, looks much like the tar that Venetians boil up in their arsenal to smear over the hulls of their ships. Those lines came to mind more than once as I walked around the 56th edition of the Venice Biennale, not least because a large section is installed in the ancient buildings of that very Arsenale.

An extraordinary black-and-white photograph of a young black boy taken on the Isle of Wight by Julia Margaret Cameron in 1868 shows him in exotic clothes and a heavy silver-bead necklace, like a chain-of-office or a prisoner’s collar. He looks so sad, reminding me of the caged lions in London Zoo, his eyes heavy-laden, his listless body lacking the restless energy you would expect of a seven-year-old. He is Prince Alemayehu of Ethiopia, brought to England after his father, the emperor, committed suicide in his palace at Addis Ababa having just been defeated by the British. His story featured on Lemn Sissay’s Homecoming (Radio 4), broadcast in the ‘comedy slot’