Artist Martin Creed’s show defies easy categorisation. He shares some thoughts, from the problem with trousers to the inadequacies of language to explanations of his sculptures. He plays some songs: some illustrate his musings, some are aural non-sequiturs. Continue reading “Review: Martin Creed’s Words and Music, EIF”
The new Tate director, Maria Balshaw, can pinpoint the explosive moment that started her journey to the job: visiting a blown-up shed. In 1991, a Cornelia Parker installation, Cold Dark Matter, saw the artist hang pieces of a detonated garden shed from the ceiling. Continue reading “Maria Balshaw: Tate’s northern powerhouse set for the challenge”
“I did as you told me, you dirty little girl, and pulled myself off twice when I read your letter.” He might be celebrated for his epic and allusive novels, but James Joyce came straight to the point when writing to his partner, Nora Barnacle. This was the opening salvo of a letter from 1908 and is just one of scores of explicit missives he sent her. Continue reading “‘My body shall be all yours’: the startling sex letters of Joyce, Kahlo and O’Keeffe”
Starting in 1861, with the abolition of the death penalty for sodomy, and ending in 1967, when the act between consenting men was decriminalised in England and Wales, the new exhibition Queer British Art at Tate Britain in London offers just over a century of works exploring fluid gender identities and same-sex desire. Continue reading “Simeon Solomon and the Victorian view of same-sex desire”
Being a member of the Bloomsbury Group doesn’t always help your reputation. Now remembered as much for their tangled love lives as their experimental work, Bloomsburies can inspire a degree of hostility for their perceived snobby elitism. Certainly, it’s hard to credit the fact that the painter Vanessa Bell – sister of Virginia Woolf – has never had a major solo show till now. Continue reading “Legacy: Photographs by Vanessa Bell and Patti Smith, Dulwich Picture Gallery”
I interviewed Marina Abramovic for ELLE magazine.
I wrote a piece on the 100th anniversary of artists Vanessa Bell and Duncan Grant moving to Charleston, for the Homes section of Tatler.
In 1959, New York’s Museum of Modern Art sent an exhibition to eight European cities – concluding at London’s Tate gallery – with the calmly self-assured title of The New American Painting. It featured 17 artists, most of whom were associated with Abstract Expressionism, including Mark Rothko, Jackson Pollock, Willem de Kooning, Franz Kline, Arshile Gorky, Barnett Newman and Clyfford Still. Continue reading “Abstract Expressionism: what do we gain from seeing these works as a group?”
Turning the corner in the London’s Newport Street Gallery, Damien Hirst’s latest venture, I’m met by a large, blue, shiny metal sculpture, a Jeff Koons balloon monkey. I’m also met by a bevy of cameras: the young couple comparing shots on their phones, the hipster dude with a SLR slung round his neck, a girl sorting her hair before snapping a selfie. Continue reading “Art for Instagram – is social media ruining art?”
To look at a Georgia O’Keeffe painting is to see America. Throughout her career, from her first show in 1916 to the late 1970s, the indomitable artist was concerned with what it meant to paint her country – and she became captivated by the wide plains, rocky outcrops and bold blue skies of New Mexico, her adopted home. Continue reading “Georgia O’Keeffe: the painter who captured America”