Tate gallery
Jasper Rees
When I interviewed John Richardson, who has died at the age of 95, he was edging through his definitive four-tome life of the minuscule giant of Cubism. Of the various breaks he took from the business of research and writing, one yielded The Sorcerer’s Apprentice, a gossipy, elegant account of his own friendship with Picasso in the 1950s, when he lived in Provençal splendour with Douglas Cooper, then the owner of the finest collection of Cubist art in the world. Where the biography is a vast monument, the memoir is a more intimate, dashed-off sketch, in which Richardson hangs out with Picasso Read more ...
Marina Vaizey
James Scott’s filmography is wide-ranging, including the 1982 short film A Shocking Accident, based on the Graham Greene story, which won an Academy Award the following year, and other works on social questions. But these documentaries, several supported or commissioned by the Arts Council, concentrate on the visual arts.The longest, Every Picture Tells a Story, is a 1983 biopic based on the early life of his northern Irish father, William Scott (1913-1989) who moved from Scotland to Enniskillen as a teenager, studied art in Belfast, then went on to London and a vastly successful career. The Read more ...
fisun.guner
Dalí may have the edge on Magritte for instant recognition and popularity, but how easily the Belgian beats the Spaniard as the more interesting Surrealist. Armed with his small repertoire of images – the nude, the shrouded head, the bowler hat, the apple and the pipe, to name a few – and painted in that precise, pictogram way of his, Magritte is an artist who holds back more than he gives away. Next to his restrained, meticulously tidy offerings, Dalí appears decidedly overcooked.In paintings such as The Treachery of Images (Cesi n’est pas une pipe), 1929, in which a representation Read more ...
fisun.guner
Does watercolour painting suffer from an image problem? Do you think of the wild, vaporous seascapes of Turner, or Victorian ladies at their sketchbooks dabbing daintily at wishy-washy flower paintings? Do you associate the medium with radical innovation or with staid tradition? And would Jackson Pollock have appeared quite so heroic flinging thin washes of watercolour around instead of viscous oils?The curators at Tate Britain certainly think there’s a problem with perception, so they want us to lay down whatever preconceptions we might have of watercolour simply being the medium of choice Read more ...
fisun.guner
Susan Hiller describes herself as a curator as well as an artist. She makes work out of objects that she’s collected over the years. She collates information, too, and personal testimonies. These all go toward making works whose primary aim is to question meanings and categories and belief systems. These belief systems are those that are often found on the outer fringes of mainstream norms – or, if you’re put off by the dry language of academe – which Hiller isn’t – the loopy stuff that’s a bit “out there”. Paranormal activity, alien abductions, séances, the healing power of holy water, Read more ...
judith.flanders
Rachel Whiteread is best known for her exploration of space, of presence and absence, of how we look at what is present – and absent – in the textures of our lives. House, her life-sized cast of a house in a derelict street in East London, first brought her to fame, and more recently Untitled (Plinth), her mockingly affectionate take on the empty plinth in Trafalgar Square, a resin-cast replica of the plinth itself, literally shaped a new viewpoint of that absence in the heart of the West End. Now in two exhibitions of (mostly) drawings and some sculpture, the viewer can follow along, looking Read more ...
sue.steward
Multiple images of silhouetted horses cantering against blank backgrounds in grids of movement are what most people associate with Eadward Muybridge. Made in the late 1880s, they have contributed to his lasting reputation as a pioneer of photography and the moving image. So it is astonishing to discover through Tate Britain’s magnificent exhibition of his life’s work, that horses were only part of a story packed with surprises.The show’s chronological arrangement is designed to build curiosity: you enter a horse-free zone and have to wait for the horses. But you become immediately immersed Read more ...
judith.flanders
Everyone likes a “lost treasure” story, a story where something missing for hundreds of years turns up in an unexpected place, bringing sudden riches to the lucky finder. In the 1970s, a purchaser of an old railway timetable found, tucked inside the book, eight hand-coloured etchings, which were quickly identified as rare images by William Blake. On top of the etchings Blake had used watercolour and then tempera, then pen and ink, thus making these one-off images that had been hidden for the best part of two centuries. Tate Britain acquired these images last year, and now they are Read more ...
fisun.guner
Two recently decommissioned fighter jets are in the incongruous setting of Tate Britain's Duveen Galleries. One plane, polished to a mirror sheen, lies belly-up, like an injured animal; the other hangs suspended from the ceiling, its matt surface stripped of its combat colours and stripes, painted instead with faint feather markings, bringing to mind a giant, trussed-up bird. Its stilled presence is both powerfully majestic and inert.
Harrier and Jaguar is the latest Duveen Galleries Sotheby's commission. It's Fiona Banner's most impressive work to date. The artist, who usually works with Read more ...
fisun.guner
Howard Hodgkin is unquestionably the grand figure of British non-figurative painting. Often compared to Matisse in his use of intense colour, he has always insisted that his paintings are not abstract. They allude, he says, to memories of people and places and states of being, so that his titles are what you would expect from a landscape artist or even, occasionally, a chronicler of modern manners: Dirty Weather, Spring Rain, Privacy and Self Expression in the Bedroom. And he often paints on unconventional surfaces, favouring wood rather than canvas, painting the frame so that we see the Read more ...
Jasper Rees
This week a new exhibition with no pretence to seriousness opens at Tate Britain. Rude Britannia: British Comic Art is a comprehensive tour of a great national tradition: having a laugh in a line drawing. The show covers the boardwalk from Gilray and Cruikshank to Gerald Scarfe and Steve Bell. It also includes the work of a cartoonist and illustrator whose world view, more than any other, now seems deliciously quaint and old-fashioned: Donald McGill. All four examples from the exhibition are included here.It's not widely known that the greatest collector of McGill's in this country is the Read more ...
Joe Muggs
A little revolution is taking place at the top of the pop charts. UK artist Tinie Tempah's rap track “Pass Out” has had two weeks at number one, and at the time of writing looks very much like it may successfully fight off Lady Gaga & Beyonce's spectacularly-hyped “Telephone Thing” to make it a third week on top.Now this might not seem revolutionary in itself: over the last year or two it has become commonplace to see black British rappers from the formerly underground grime scene in the “proper” charts. However up until now, with the exception of Dizzee Rascal – who has always been a one Read more ...