Tate britain

‘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

No Californian could have painted Hockney’s pools. No La-La Land artist, raised on sun and orange juice, would have done tiles and diving boards and tan-lined bottoms as the boy from Bradford did. It had to be a Hockney, brought up, the fourth of five children, in a two-up two-down. Hockney, who aged three had sheltered from bombs with his mother Laura, father Kenneth, four siblings and a lady neighbour in the cupboard under the stairs. A Yorkshire child steeped in Typhoo tea and fortified by meat and potatoes from Robert’s Pie Shop. A painter who had bicycled the Wolds in the rain, and lived in the garden shed of

For much of 1517 Michelangelo Buonarroti was busy quarrying marble in the mountains near Carrara. From time to time, however, he received letters relating how his affairs were going in Rome. These contained updates on — among other matters — how his friend and collaborator Sebastiano del Piombo was getting on with a big altarpiece which he hoped, with Michelangelo’s help, would vanquish their joint rival, Raphael. This picture, ‘The Raising of Lazarus’, has been in the National Gallery for almost 200 years now (it is No. 1 in the inventory of the collection). Next March it will be one of the centrepieces in an ambitious exhibition that inaugurates the

In 1932 Paul Nash posed the question, is it possible to ‘go modern’ and still ‘be British?’ — a conundrum that still perplexes the national consciousness more than 80 years later. It is true that the artist himself answered that query with an emphatic ‘yes’. But, as the fine exhibition at Tate Britain makes clear, his modernism was deeply traditional. The truth is that Nash (1889–1946) was what the author Alexandra Harris has termed a ‘romantic modern’. In other words, his art was a characteristic Anglo-Saxon attempt to have things both ways. Equally typically, he managed to do so — but only some of the time. Nash’s early drawings and

In this week of toadying obsequies after the (rather late) retirement of Sir Nicholas Serota from his imperial throne at Tate, an alternative narrative (briefly) enters the minds of the mischievous. Alone, aloof, fastidious, austere, he is sitting, suited darkly, in his office surveying, with a basilisk stare, the spreadsheets and data-sets his cowering elfin helpmeets have presented him. They step backwards towards the door bowing, afraid to meet his eyes, as he shoots freezing glances towards them. His lips soon purse in cool satisfaction. He is maybe even stroking a furry white cat. Or perhaps a PVC balloon pussy by Jeff Koons. The numbers on his spreadsheets are all

At the tail end of last year, an artist called Peter Goodfellow mounted an exhibition of paintings titled Treason of the Scholars. The works were a garish parody of the signature styles of blue-chip artists including Jeff Koons, Damien Hirst and Joseph Beuys — not so much satire as aggravated assault. In terms of nuance, it made the giant inflatable butt plug artist Paul McCarthy had installed in Paris’s Place Vendôme in 2014 look subtle. But that, Goodfellow stressed, was precisely the point. His complaint, he wrote in an accompanying essay, was that the ‘charlatans’ of the contemporary art establishment had come to neglect his medium in favour of figures

Until a decade and a half ago, we had no national museum of modern art at all. Indeed, the stuff was not regarded as being of much interest to the British; now Tate Modern is about to expand vastly and bills itself as the most popular such institution in the world. The opening of the new, enlarged version on 17 June — with apparently 60 per cent more room for display — will be one of the art world events of the year. But, like all jumbo galleries, it will face the question: what on earth to put in all that space? Essentially, there are two answers to that conundrum.

‘Wherever the British settle, wherever they colonize,’ observed the painter Benjamin Robert Haydon, ‘they carry and will ever carry trial by jury, horse-racing and portrait-painting.’ This doesn’t sound like a bad set of cultural baggage, even for those who don’t care for the races. There is clearly a lot to be said for trial by jury, and portraits make up the most enjoyable — in fact, downright humorous — section of Artist & Empire, a curious new exhibition at Tate Britain. Not, of course, that Tate approaches this subject in a playful spirit. At the entrance, a hand-wringing text declares that the British empire’s ‘history of war, conquest and appropriation

In the last two decades of her life, Barbara Hepworth was a big figure in the world of art. A 21-foot bronze of hers stands outside the UN headquarters in New York, emblematic of her friendship with secretary-general Dag Hammarskjöld — a Hepworth collector — and of her international fame. This was how a modern monument looked half a century ago: abstract but organic, romantic but starkly simplified. Since Hepworth’s death, however, her status has become less clear: was she a towering giant of modern sculpture or relatively minor, a slightly dreary relic of post-war Britain? Barbara Hepworth: Sculpture for a Modern World at Tate Britain does not quite supply

Things have not been happy at Tate Britain for some time. Last year Waldemar Januszczak wrote an article culminating with this cri de coeur: ‘Curtis has to go. She really does.’ The meat of the argument against Tate Britain’s director was that she had presided over a run of misconceived exhibitions disliked as much by critics and scholars as by the public. In her defence, these were not the blockbuster shows but the low-cost fillers that UK museums must put on when the coffers are low. As such they tend to be long on ideas and short on jaw-dropping loans. It is not much of a defence. The massive unseen

In the centre of the new exhibition Sculpture Victorious at Tate Britain there is a huge white elephant. The beast is not, I should add, entirely colourless. On the contrary, it has a howdah richly decorated in gold and green, and numerous trappings, and tassels covering its pale grey hide. Its whiteness is entirely proverbial. After all, what can you do with a porcelain pachyderm, standing over seven feet tall? The Victorian period, a text on the wall proclaims, was ‘a golden age for British sculpture’. This is perfectly true, in the sense that a colossal amount of the stuff was turned out during Victoria’s reign. But, as the exhibition

The New Year is a time for reflections as well as resolutions. So here is one of mine. In the art world, media and fashions come and go, but often what truly lasts — even in the 21st century — is painting. Over the past 12 months, there has been a series of triumphs for pigment on canvas, including the glorious Veronese exhibition at the National Gallery, and a demonstration by Anselm Kiefer at the Royal Academy that we still have painters of towering stature among us. What will 2015 hold? Well, as far as painting is concerned — both old master and contemporary — there are some extremely promising

In the Royal Academy’s courtyard are two large glass cases or vitrines containing model submarines. In one the sea has receded, dried up, and the tin fish are stranded on the cracked mud of the ocean floor. In the other, the elegantly rusted subs are mostly suspended like sharks in an aquarium: a fleet in fact, all pointed in the same direction. These works are the visitor’s first sight of the vast and glorious exhibition by Anselm Kiefer (born Germany, 1945) currently occupying the main galleries of Burlington House, and they are apparently related to his interest in the Russian poet and futurist Velimir Khlebnikov. At once we are confronted

British folk art has been shamefully neglected in the land of its origin, as if the popular handiwork of past generations is an embarrassment to our cultural gurus and the kind of supposedly hip commentators who sneer at morris dancing. Last May I reviewed the archive display at the Whitechapel Gallery of Black Eyes and Lemonade, which re-visited the 1951 Whitechapel exhibition of the same name, a survey of vernacular art in Britain curated by the artist Barbara Jones; but that show, more than 60 years ago now, was probably the only specifically folk art exhibition in a major museum or public gallery to take place in recent years. Certain

Earlier this year, I sat down and watched Kenneth Clark’s groundbreaking TV series Civilisation. I vaguely remember when it was first screened in 1969, but was too young to appreciate it properly. This time around it made splendid Sunday afternoon viewing: Clark’s distinctive blend of authority and humour, his ability to convey information and enthusiasm without the slightest trace of condescension, coupled with effective camerawork and good editing, make a rich and stimulating brew of word, image and music. The series, which was commissioned by David Attenborough and brilliantly directed by Michael Gill, established a model for all subsequent arts documentaries. Not only did I learn a lot from its

When I visited the Richard Deacon exhibition at Tate Millbank, there were quite a lot of single men of a certain age studying the exhibits with rapt attention — some even making notes. (I realise I’ve just described myself…) This is perhaps because the show is all about the glories of construction, and reminiscent of hobbies on an industrial scale. The exhibits are made of bent wood, looping metal, other materials cut or sewn or carved, exoskeletons of imaginary, or rather invented, things. Much of the early work in this fascinating survey is linear, the structures resolutely open, but the emphasis gradually becomes more volumetric and involved with three-dimensional plasticity.

The death of painting has been so often foretold — almost as frequently as its renaissance — that any such prediction today is nothing short of foolhardy. Of course, painting is alive and well and living in London, but you wouldn’t know that from the current exhibition of five artists at Tate Millbank. (By the way, this is a paying display, the regular admission fee being £10. Not surprisingly, it was deserted when I visited. This sort of show, to do its job properly and communicate to the public at large, should be free.) According to the press release, each of the five artists ‘has adopted an approach to painting

One of the great treats of the exhibiting year will undoubtedly be Henri Matisse: The Cut-Outs (17 April to 7 September) at Tate Modern. The last phase of Matisse’s productive career was devoted to making extraordinarily vivid images from painted paper cut with scissors, as the physical effort of wielding a paintbrush became too much for him. Matisse’s greatest strengths were as draughtsman and colourist, and the cut-outs combine these skills in abundant measure, releasing a new sense of joyous celebration almost unmatched in the history of art. The largest ever exhibition of the cut-outs, the Tate’s show will feature 120 works, many seen together for the first time. Unmissable.

There has been much positive comment about the rehang of the Tate’s permanent collection, which sees a welcome return to the great tradition of the chronological hang and thus gives the visitor a chance to see the development of British art from 1545 to today. At last we are permitted a rest from themed displays and given a proper educational arrangement that maps out our artistic heritage — at least in part. (Most of the larger movements are covered.) This is not a conservative stratagem: there is still plenty of room for discussion and controversy in the various inclusions and omissions (particularly noticeable when we reach the 20th century). But