Contemporary art

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’

As a purveyor of lairy souvenirs Venice outdoes even Lourdes. The scores of shops and booths that peddle this lagoonal kitsch are manned by graduates of hard-sell whose market-barker schtick does not need to include descriptions as their goods are self-explanatory. Every other year they coexist with a different sort of operation: the galleries, ateliers, showrooms and studios of the Biennale. And with them an ever-burgeoning cadre of soft-sell operatives, who compose the hieratic order of the curatocracy. There is no piece of approximate art or workshopped event that cannot be curated just as there is no foodstuff that cannot be sourced. At a recent ‘ideas festival’, I was enjoined

It is not impossible to create good art that makes a political point, just highly unusual. Goya’s ‘Third of May’ is the supreme example of how to pull it off. It is a great picture with a universal message — the terrible suffering of the innocent victims of war — and one echoed, with fresh horrors, in the news today. The figure in front of the firing squad, arms flung wide, in Goya’s picture is everyman. One of the reasons for its power, and for that of ‘Disasters of War’, his series of aquatint etchings, is that images of violence and evil sprang spontaneously from his imagination. There are some

Before I was asked to go out and cover it, I’d never heard of the Vincent Award for contemporary art. It’s a big deal in the Dutch art world, apparently, a sort of pan-European answer to the Turner Prize. It was set up by a charitable foundation with some deeply serious intent or other, and takes place around Holland every other year. The deal is that 50,000€ is awarded to – and I’m more or less directly quoting the literature here – a stimulating mid-career artist building a discussion platform. It is also, we are told, ‘Europe’s most prestigious art prize’. Are your bullshit detectors sounding off yet? Sure enough,

Gerhard Richter has got a website. This is odd in itself – artists only usually have websites when they are young and not represented by a commercial gallery. They then proudly drop their websites when they get signed up to show that they are not in the grubby business of having to promote themselves. Gerhard Richter is 82 and arguably one of the few artists to combine huge commercial success (his 1968 work Domplatz sold for £24 million at Sotheby’s) with critical adoration. This is not the only thing that is odd about his website. The artist is known for the variety of styles he has used in painting, from

It was Orthodox Trinity Sunday when Luba Michailova received word that separatists would soon occupy the premises of the Donetsk art centre she founded. She was in Kiev at the time, and recalls now that her first response was religious: ‘Any difficulties in life you get, it’s for your good, and for testing you.’ The following morning, at 8 o’clock, several staff were at work cleaning when 15 men in balaclavas appeared, firing Kalashnikovs into the air. Michailova tells me, ‘So when it happened, I knew it would happen, but I never thought it would be so painful.’ Donetsk now is in the hands of the masked separatists who brought

It’s time to heed the complaints and free art schools from the constraints of the university system, says Niru Ratnam The Turner Prize award ceremony always attracts protest — usually in the shape of the Stuckists, a group of bedraggled, eccentric-looking artists who gather outside Tate Britain in funny hats and bemoan the death of representational painting. But this year they were upstaged by around 200 art students, who entered the museum in the afternoon and refused to leave, staging what was described as a ‘teach-in’. In addition to wearing their own humorous hats, the students made speeches, marched round and chanted. The ‘teach-in’ was a protest against proposals unveiled

The trend of fewer temporary exhibitions in our museums is becoming established, as the cost of mounting blockbusters escalates beyond even the generous reach of sponsorship. This is in sharp contrast to the commercial galleries, which still put on as many as 10 or 15 different shows a year in the hope of tempting clients to part with their cash. Taking a keen look at forthcoming exhibitions is always a mixed pleasure: the expected counterpointed with the novel, the obvious with the obscure. Thankfully, there are still enough exciting prospects in the public sector to raise the spirits and move us to make a note in the diary. At the