The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Zarina Bhimji is a photographer of ghosts. Her images of deserted buildings (‘Bapa Closed His Heart, It Was Over’, above) and desolate landscapes are empty, but haunted by humanity; her work is, as she puts it, evidence not of ‘actual facts but the echo they create’. The Whitechapel Gallery is currently home to a retrospective
Remarkably, this is the first solo show in the UK of the work of Albert Burri (1915–95) for more than 50 years. Compare the popularity of other Italian postwar artists — Lucio Fontana, for instance, who only had one idea, the slashed or pierced canvas, to recommend him. Burri remains very much an unknown quantity,
Having studiously avoided the media for years, Charles Saatchi was stirred enough to write an article for the Guardian last December that opened: ‘Being an art buyer these days is comprehensively and indisputably vulgar. It is sport of the Eurotrashy, hedge-fundy, Hamptonites; of trendy oligarchs and oiligarchs.’ He has a point. A new type of
Several people I spoke to when this exhibition was first mentioned thought it would be a Hockney retrospective, considering that he was commandeering all the first-floor galleries at the RA. But actually the retrospective element is very slight, consisting of half a dozen early landscapes and a couple of photo-collages, before we encounter the first
As cuts in government funding begin to bite, the innovative Tricycle Theatre in Kilburn finds itself short of £350,000 a year, and its long-serving artistic director, Nicolas Kent, is standing down as a result. Into the breach has stepped 89-year-old philanthropist and Tricycle devotee Al Weil. He is donating 37 paintings (including ‘The Gulf of
When R.B. Kitaj put together The Human Clay, his ground-breaking 1976 exhibition of figurative art at the Hayward Gallery, he wrote: ‘If you have a great subject, say, a person or people or a face or some complex theme, you have no right to be negligent about form or colour. Great themes demand the highest
The last major show of paintings by Edward Burra (1905–76) was at the Hayward Gallery in 1985 and I remember visiting it with a painter friend who was rather critical of what she called Burra’s woodenness and lack of movement. At the time, I was impressed by her criticisms, but now they rather seem to
When I was at school, I remember the art teacher returning incensed from a trip to London during which he’d taken a group of seniors to the Tate Gallery. The particular object of his ire was what he described as ‘a pile of blankets’ by Barry Flanagan. He could not accept that this was a
Among exhibition organisers, hyperbole is clearly the order of the day. The crowds are going wild over Leonardo at the National Gallery, expecting an exhibition packed with paintings (though only nine are by the master), and now the Fitzwilliam is hauling them in with a show called Vermeer’s Women that contains just four paintings by
In recent years there has been a surge of interest in the treasures hidden in our public art collections, many of them rarely if ever on view. The Tate Gallery is perhaps the principal offender here, showing only a tiny percentage of its glorious and wide-ranging holdings of British art, but attention is now being
At least one market posted strong results in November. That was the market for contemporary art. In just four days in New York — 7 to 10 November — a phenomenal $775 million was spent on postwar and contemporary art at auction alone (who knows what deals were transacted privately). Sotheby’s evening sale exceeded its
I prepared for this exhibition in Düsseldorf by taking the short train journey down the Rhine to Cologne, which would hate to be thought of as a twin city. Its gigantic cathedral is as I first saw it some 40 years ago, still black with soot (but where would you start to clean it?), and
Venice and Alexandria were, as far as the Venetians were concerned, twin cities. According to legend, St Mark had visited Venice before going to Alexandria, where he preached, performed miracles and was martyred. When two Venetian merchants stole the saint’s remains from Alexandria in 828, they were merely fulfilling the prophecy of the Angel that
Historically, British artists have not been good at money management. George Morland (1762–1804) was chronically insolvent; Benjamin Haydon (1786–1846) served four jail terms for debt and eventually killed himself after being reduced to pawning his spectacles; even Sir Thomas Lawrence (1769–1830) died leaving debts of £30,000. But the painter who turned serial defaulting into an
The charge of the Scots Greys at Waterloo: you’ll know it from the Risk board game. Hundreds of soldiers on lustrous white horses, manes billowing as they gallop straight at the viewer. A magnificent sight, but the stuff of nonsense: the horses probably weren’t all greys and they definitely weren’t turned out as if for
High Arctic, the inaugural exhibition in the newly opened Sammy Ofer wing at the National Maritime Museum, Greenwich (until 13 January), brings a thoroughly 21st-century, technology-driven museum experience to this historic site. It’s an exhibition, Jim, but not as we know it. In 2010 Matt Clark, creative director of the art and design practice UVA,
In 1935, Paul Nash observed that Edward McKnight Kauffer (1890–1954) was responsible for the change in attitude towards commercial art in this country. An American, Kauffer arrived in England in 1914 during a period of European study. He liked it and decided to stay, enabled to do so by his remarkable ability to design posters.
The setting is appropriate: Rochelle School is on Arnold Circus in Shoreditch, at the end of Club Row, once famous for its pet market, where, until it was closed down in 1983, you could buy caged birds from around the world. Now the school is hosting an exhibition entitled Ghosts of Gone Birds (till 23
For far too long, John Martin (1789–1854) has been dismissed as ‘Mad’ Martin, the prophet of doom. In the eyes of many, this unacademic painter was a grotesque curiosity, producing colossal pictures of apocalyptic destruction, crude dramas of catastrophe and tumult, much to the delight of the populace. The mere fact that he was so
The caption on the photograph (above) makes a difference: ‘A young boy grieves at the funeral of his father who died of Aids at Ndola, Zambia, 2000.’ There were two million Aids orphans in Zambia alone. ‘I care about not letting this tragedy go unseen,’ Don McCullin said. Shaped by War: Photographs by Don McCullin,
Photographs of roadworks feature regularly in the Hampstead Village Voice but, even with the postmodern fashion for grungy subjects, no contemporary residents have made paintings of them. Yet that, astonishingly, was what Ford Madox Brown did in the 1850s, lugging his two-metre canvas on to The Mount, off Heath Street, to do it. Brown’s unlikely
Fra Angelico (1395–1455), Il Beato (‘the Blessed One’) to his contemporaries as well as to John Paul II, who beatified him in 1982, is probably best known today for his frescoes in Florence’s San Marco, the Dominican convent where he lived as a monk. Perhaps fearing that some art-lovers will question the wisdom of mounting
Claude Gellée (c.1600–1682), known as Claude Lorrain, started life as a pastry cook and despite turning his attentions from pies and patisserie to painting he never lost his love for confection. Although he is revered as the father of the landscape tradition and was hailed by Constable as ‘the most perfect landscape painter the world
Homes may continue to lose value, the euro becomes shakier by the day, the unemployed stay unemployed and even the Chinese economy shows signs of overheating, but the international art market seems to know only one direction: up. For the first half of 2011, Christie’s sold $3.2 billion in fine and decorative art (an improvement
At the less than enticing Guildhall Art Gallery, a purpose-built museum that manages immediately to depress the spirits by its utterly unsympathetic design, is a major exhibition of John Atkinson Grimshaw (1836–93), the celebrated Victorian painter of moonlight. The show is the brainchild of Jane Sellars, director of the Mercer Art Gallery, Harrogate, where it
As the 414 bus swings left from the Edgware Road at Marble Arch you avert your eyes, hoping you won’t have to look at the thing looming up in front of you for a single second longer than you have to. Even so, you know it’s there — a blot on the sky, a gulp
Edgar Degas (1834–1917) was born into a banking family, always knew he wanted to be a painter and was fortunate enough to be encouraged in his enthusiasm by his parents. After a classical training he began to paint portraits and history subjects, before seeing the relevance of real life and developing ways in which to
In recent months, two new museums have opened to much acclaim: The Hepworth in Wakefield and Turner Contemporary in Margate. Now Colchester is receiving the dubious benison of a new building. What is this assertive new generation of museums in England supposed to be about? Leisure, business or art? There’s precious little of the last
Rome contains many hidden treasures, but the most remarkable of the lot is concealed on the Caelian Hill, above the Colosseum, in the medieval monastery of Santi Quattro Coronati. It’s a cycle of frescoes dating from around 1250. It is extremely rare for painting from this period to survive anywhere, but it’s even rarer in
