Exhibitions
A cast of Antony Gormley? Or a pair of giant conkers? Gormley’s new show reviewed
While Sir Joshua Reynolds, on his plinth, was looking the other way, a little girl last Saturday morning was trying…
The rare gifts of Peter Doig
‘My basic intention,’ the late Patrick Caulfield once told me, ‘is to create some attractive place to be, maybe even…
Whooshing seedlings and squabbling stems: Ivon Hitchens at Pallant House reviewed
Set down the secateurs, silence the strimmers. Let it grow, let it grow, let it grow. Ivon Hitchens was a…
Why was Sigmund Freud so obsessed with Egypt?
Twenty years ago, I visited the ancient Egyptian city of Amarna with a party of American journalists. Even in those…
An exhibition about dogs, chosen by dogs: Dog Show reviewed
Stepping into any art gallery, the last thing you expect to be greeted by is a cacophony of barking and…
Lucian Freud insisted a forgery could be as great as the real thing. Was he right?
Perhaps we should blame Vasari. Ever since the publication of his Lives of the Artists, and to an ever-increasing extent,…
Olafur Eliasson’s art is both futuristic and completely traditional – which is why I love it
Superficially, the Olafur Eliasson exhibition at Tate Modern can seem like a theme park. To enter many of the exhibits,…
A brief history of tea
It had to happen. Since almost everything became either ‘artisan’ or ‘curated’, conditions have been ripe for a curator of…
Full of wonders: Takis at Tate Modern reviewed
Steel flowers bend in a ‘breeze’ generated by magnetic pendulums. This is the first thing you see as you enter…
No masterpieces but there are beautiful touches: Félix Vallotton at the RA reviewed
Félix Vallotton (1865–1925) was a member of the Nabis (the Prophets), a problematically loose agglomeration of painters, inspired by Gauguin…
Remarkable and powerful – you see her joining the old masters: Paul Rego reviewed
In 1965 a journalist asked Paula Rego why she painted. ‘To give a face to fear,’ she replied (those were…
There is a jewel of a painting at Gagosian’s Francis Bacon show
‘It is no easier to make a good painting,’ wrote Vincent van Gogh to his brother Theo, than it is…
Virtuosic exploration of paint: Frank Bowling at Tate Britain reviewed
‘The possibilities of paint,’ Frank Bowling has observed, ‘are endless.’ The superb career retrospective of his work at Tate Britain…
How plastic saved the elephant and tortoise
Plastics — even venerable, historically eloquent plastics — hardly draw the eye. As this show’s insightful accompanying publication (a snip…
A mesmerising retrospective: Victoria Crowe at City Art Centre, Edinburgh, reviewed
This mesmerising retrospective takes up three floors of the City Art Centre, moving in distinct stages from the reedy flanks…
The duo that broke the mould of poster design
The best double acts — Laurel and Hardy, Gilbert & George, Rodgers and Hart — are often made up of…
Would James Joyce have finished Ulysses without coloured pens?
The Mesopotamians wrote on clay and the ancient Chinese on ox bones and turtle shells. In Egypt, in about 1,800…
Moore’s art has never looked better: Henry Moore at Houghton Hall reviewed
Henry Moore was, it seems, one of the most notable fresh-air fiends in art history. Not only did he prefer…
A beautiful exhibition of a magnificent painter: Sean Scully at the National Gallery reviewed
Sean Scully once told me about his early days as a plasterer’s mate. At the age of 17 he was…
Absorbing – a masterclass in print-making: Edvard Munch at the British Museum reviewed
An eyewitness described Edvard Munch supervising the print of a colour lithograph in 1896. He stood in front of the…
Is now a good time to talk about Jews and money?
Is now a good time to talk about Jews and money? The Jewish Museum in London thinks so, and perhaps…
The joy of George Shaw’s miserable paintings of a Coventry council estate
All good narrative painting contains an element of allegory, but most artists don’t go looking for it on a Coventry…
Full of lovely paintings that might lead you astray: The Renaissance Nude reviewed
Early in the 16th century, Fra Bartolomeo painted an altarpiece of St Sebastian for the church of San Marco in…
Wicked, humorous and high-spirited: Dorothea Tanning at Tate Modern reviewed
Art movements come and go but surrealism, in one form or another, has always been with us. Centuries before Freud’s…
Phyllida Barlow’s sculptural wonderland reigns supreme at the Royal Academy
‘Those who can, do; those who can’t, teach.’ If there’s an exception to prove Shaw’s rule, it’s Phyllida Barlow. The…
