sat 02/03/2024

Marina Vaizey

Marina Vaizey's picture
Bio
Marina Vaizey was art critic for the Financial Times, then the Sunday Times, edited the Art Quarterly, has been a judge for the Turner Prize, and a trustee of several museums; books include 100 Masterpieces, The Artist as Photographer and Great Women Collectors. She's currently a freelance art critic and lecturer. This drawing of Marina as a character from Jane Austen is 40 years old.

Articles By Marina Vaizey

Val McDermid: Insidious Intent review - dark and expert crime writing

Read more...

Fred Vargas: The Accordionist review - intriguing Gallic sleuthing yarn

Read more...

Utopia: In Search of the Dream, BBC Four review - the best of all possible documentaries?

Read more...

James Hamilton: Gainsborough - A Portrait review - an artistic life told with verve and enthusiasm

Read more...

Matisse in the Studio, Royal Academy review - a fascinating compilation

Read more...

Queer as Art, BBC Two review - showbusiness and the gay revolution

Read more...

Grandad, Dementia and Me, BBC One review - no easy solutions to terrifying mental condition

Read more...

Michael Connelly: The Late Show review - mesmerising and believable characters

Read more...

The Exhibition Road Quarter review, V&A - an intelligent and much needed expansion

Read more...

Jonathan Miles: St Petersburg review - culture and calamity

Read more...

Sargent, Dulwich Picture Gallery review - wonders in watercolour

Read more...

Brenda Maddox: Reading the Rocks review - revelations of geology

Read more...

National Gallery of Ireland review - bigger and better

Read more...

Elif Batuman: The Idiot review - memories of student life and travels meander

Read more...

Alberto Giacometti, Tate Modern

Read more...

Sunday Book: Henry Marsh - Admissions: A Life in Brain Surgery

Read more...

Pages

latest in today

St Matthew Passion, Irish Baroque Orchestra, Whelan, St Patr...

After last year’s small-scale, big-impact Messiah in the Wigmore Hall, superlatives are again in order for the IBO’s performance of the...

Lisa Frankenstein review - a bitchy trawl through the high-s...

Diablo Cody’s biggest screenwriting hit was 2007’s Juno, a larky but tender story of teenage pregnancy. She’s gone back to high school...

First Person: violinist Tom Greed on breaking down barriers...

For musicians, the period from early 2020 to mid-2021 was one of great reflection, with so many questions to puzzle over. Could we satisfy the...

Album: Squarepusher - Dostrotime

Over the years, Tom “Squarepusher” Jenkinson has covered a lot of ground over three decades, from dank cellar ambience to refined baroque...

Standing at the Sky's Edge, Gillian Lynne Theatre revie...

Can there be anyone from Sheffield who has not seen ...

Anna Reid: A Nasty Little War - The West's Fight to Rev...

During the Cold War, US presidents often claimed that the West and the Soviet Union had...

Der fliegende Holländer, Royal Opera review - compellingly l...

The shadow of Nosferatu hangs heavily over Tim Albery’s powerfully austere staging of...

Cruel Intentions, The Other Palace review - uneasy vibes, hi...

Transgression was so deliciously enticing. Back in the Eighties when I saw Les Liaisons Dangereuses in the West End on three...

Hallé, Elder, Bridgewater Hall, Manchester review - Bruckner...

Sir Mark Elder conducted Bruckner’s Symphony No. 8 for his first time in last night’s Hallé series concert, a reflection of his untiring...