The Venice Biennale sparks surreal conversations between past and present in ‘Milk of Dreams’, curated by Cecilia Alemani
Cornelia Parker exploded a garden shed with the help of the British army. She’d contacted them for advice and was invited to the Army School of Ammunition
Love them or loathe them, non-fungible tokens (NFTs) have now established their place in the art world firmament and, in doing so, have hogged the headlines.
A recent Opinion piece on the website Hyperallegenic fiercely condemned Frida Kahlo, long one of the patron saints of contemporary feminist art.
The new over-life size statue group of Princess Diana, just unveiled at Kensington Palace, to celebrate what would have been her sixtieth birthday, shows the late princess surrounded by three children.
The Royal Academy of Arts has backed down and apologised to the German textile artist Jess de Wahls over transphobic row.
What’s up for art here in London, once the pandemic is finally over? Will we all be able to go back to the state of things as they were, in the jolly days before the plague?
The Ben Uri Gallery in London has just come up with a new operation model, better suited to the needs of relatively small outfits, such as itself. Or should I say that those who run it have been savvy enough to recognise that the contemporary art world has been massively changed.
Looking at official galleries here in Britain (all temporarily closed as of this publication) – more especially at those situated in London – it is immediately evident that a revolution has taken place.
The appearance of a new Banksy graffito in Bristol more or less confirms his position as the genuine top dog in the current British art scene. His only possible rival is Hockney, now living in comfortable exile in France. Bacon and Freud are dead – in any case one of them was as much Irish […]
On 21 September, a statement quietly appeared on the website of the National Gallery Washington. It announced the postponement, of the “Philip Guston Now” exhibition
At the moment there is an undeclared contest going on, both within the British art world and also, on a much larger scale, in the international sphere. This contest takes several inter-related forms. For example, there is the competition between official and semi-official galleries and commercial ones.
The debate about the continuing use of the term ‘Old Master’ has been re-energised by exhibitions shortly to open or reopen, such as ‘Forgotten Masters: Indian Painting for the East India Company’ at the Wallace Collection and ‘Women Modern Masters’ at The Scottish Gallery.
The BLM protests in recent weeks have shown us how relevant issues of race still are. It’s shocking to see that racial discrimination still exists in this day and age. It is our role as cultural influencers to give our attention and support to the fight against systemic racism.
As a sculptor who has used Victorian and other found sculptures in my work for some time, the increasingly heated debate on the future of public Victorian statues, buildings and street names across the country has resonated with me.
Sotheby’s announced this week that a small, delicate Rembrandt self-portrait is to be auctioned on July 28th, here in London. The painting is unusually intimate, (about 17 x 22cm) and was painted in 1632 when the artist was 26 years old.
Who would have thought early February when Art Basel Hong Kong was cancelled that the coronavirus crisis was going to spread like lighting to everywhere else on the planet
As the contemporary art world goes dark, and as galleries – official spaces and commercial ones – slam shut their doors, one inevitably starts to wonder what the art world will be like once all this is over—the British art world, and also the global one.
First, the Louvre in Paris closed. Then the galleries in London started to shut their doors, one by one, like the “lamps going out all over Europe” as the British Foreign Secretary, Sir Edward Grey remarked on the eve of the First World War, adding “We shall not see them lit again in our lifetime.”
Penny Macbeth has been appointed as the new director of the Glasgow School of Art. Following a tumultuous week of uncertainty, as reported by Clare Henry on Artlyst, the institution has been in flux needing a pair of safe hands to sort it out.
Today’s terrible news, a local Glasgow council is closing Mackintosh’s iconic Scotland Street School Museum. I despair. Soon there will be nothing Mackintosh left in Glasgow. Ironically the city needs Mackintosh as a focal point for culture and tourism. Glasgow’s love affair with Mackintosh is far from over.
There have been few iconic institutions more beloved that Charles Rennie Mackintosh’s Glasgow School of Art.
On Monday, January 13 the Times (London) published a chirpy article by Ben Luke promising wonders to come in London’s official galleries during the coming year. I have to say that the prospects he offered didn’t look so wonderful to me – that is to say where contemporary art is concerned.
A New Year, a new decade – I’ve been thinking about all the things I currently don’t like about the contemporary art scene here in Britain. Most of all, I don’t like its pervasive self-righteousness, the ever-increasing assumption that ‘official art’ has all the answers.
In 1987, in a eulogy given at a Memorial Mass for Andy Warhol, the art historian John Richardson revealed the extent of Warhol’s Catholic devotion and faith. Richardson shared with the congregation of 2,000 at New York’s St Patrick’s Cathedral that Warhol had attended Mass several times a week at the St. Vincent Ferrer parish, […]
Art has incredible power. It is a force for cultural reflection, social change and an invaluable medium through which we challenge existing assumptions, broaden our outlook and catalyse change.
The Taylor Wessing Portrait Prize has come round once again, just as the announcement went out that the NPG will very soon close its doors for a much-needed update, and won’t be accessible again for three years. It’s hard to be entirely regretful about the hiatus.
Recently the Guardian newspaper here in Britain offered yet another of those ‘best of’ lists to which both the print press and websites of various kinds are now addicted. In this case, what it listed was ‘the best art of the 21st century’.
I have always had ambiguous feelings about the annual Masterpiece London fine art and antiques fair, now under the umbrella of the Art Basel Group.
Just recently Tate Modern was named as Britain’s most popular tourist attraction: 5.9 visitors went to the gallery last year. Sounds impressive, doesn’t it – that is till you do a bit more research.
In the aftermath of sentencing the exiled Russian artist Petr (AKA Pyotr) Pavlensky on Thursday, I ask myself why is he doing this? Is it for art? Or should we categorise him as an attention-seeking spoilt brat? Pavlensky was on trial for setting fire to the facade of a French central bank building, a performance […]