Exhibitions
Beguiling grot, TfL surrealism and Insta-art: contemporary art roundup
Last month, I got the train down to Margate to interview the Egyptian-Armenian artist Anna Boghiguian (b. 1946), whose exhibition…
Grayson Perry has pulled off another coup at the Wallace Collection
This show was largely panned in the papers when it opened in April, with critics calling it ‘awkward and snarky’,…
The greatest decade for British painting since Turner and Constable? The 1970s
Slowly the canvas was unfurled across the concrete floor of a warehouse on an industrial estate in Suffolk. On and…
The architects redesigning death
Unesco doesn’t hand out world-heritage status to absences, but if it did, there would be memorials all over the western…
London’s best contemporary art show is in Penge
If you’ve been reading the more excitable pages of the arts press lately, you might be aware that the London…
The cheering fantasies of Oliver Messel
Through the grey downbeat years of postwar austerity, we nursed cheering fantasies of a life more lavishly colourful and hedonistic.…
How do you exhibit living deities?
The most-watched TV programme in human history isn’t the Moon landings, and it isn’t M*A*S*H; chances are it’s Ramayan, a…
Why you didn’t want to get on the wrong side of Cecil Beaton
‘Remember, Roy, white flowers are the only chic ones.’ So Cecil Beaton remarked to Roy Strong, possibly as a mild…
V&A’s new museum is a defiant stand against the vandals
In last week’s Spectator, Richard Morris lamented museum collections languishing in storage, pleading to ‘get these works out’. There’s an…
Fascinating royal clutter: The Edwardians, at The King’s Gallery, reviewed
The Royal Collection Trust has had a rummage in the attic and produced a fascinating show. Displayed in the palatial…
Architecture has hit a nadir at the Venice Biennale
Much of Venice’s Giardini this year was as boarded up as a British high street. The Israeli pavilion was empty,…
Decent redesign, ravishing rehang: the new-look National Gallery reviewed
A little under a year ago, it emerged that builders working on the redevelopment of the National Gallery’s Sainsbury Wing…
Poise and gentleness: Hiroshige, at the British Museum, reviewed
Why is Hiroshige’s work so delightful? While his close predecessor Hokusai has more drama in his draughtsmanship, Hiroshige’s pastoral visions…
Prepare to feel nauseous at this School Dinners exhibition
If your stomach turns when you walk past a Japanese restaurant with moulded plastic replicas of sushi on display, prepare…
The two young women who blazed a trail for modernism in Ireland
In 1921, the sternly abstract cubist Albert Gleizes opened the door of his Parisian apartment to two young women in…
The polarising poet, sculptor and ‘avant-gardener’ who maintained a private militia
Not many artists engage in the maintenance of a private militia, and it seems fair to assume that those who…
Was Sir John Soane one of the first modernists?
Sir John Soane’s story is a good one. Born in 1753 to a bricklayer, at 15 he was apprenticed to…
Cartier used to be a Timpson’s for the rich
In the fall of, I suppose, 1962, my friend Jimmy Davison and I, window shopping on Fifth Avenue, bumped into…
Absorbingly repellent: Ed Atkins, at Tate Britain, reviewed
In the old days, you’d have to go to a lot of trouble to inhabit another person’s skin. Today you…
Wonderfully intimate: The Drawings of Victor Hugo, at the RA, reviewed
You feel so close to Victor Hugo in this exhibition. It’s as if you are at his elbow while he…
If ‘wokeness’ is over, can someone please tell the Fitzwilliam Museum?
Optimists believe that the tide of ‘wokeness’ is now ebbing. If so, the message has not yet reached Cambridge, whose…
The art of sexual innuendo
Paula Rego’s 2021 retrospective at Tate Britain demonstrated that, among art critics, ambiguity is still highly prized as a measure…
A blast: Leigh Bowery!, at Tate Modern, reviewed
Tate Modern’s latest exhibition is a bizarre proposition on so many levels. Its subject, the Australian designer, performer, provocateur and…
The greatest paintings are always full of important unimportant things
Goya to Impressionism: Masterpieces from the Oskar Reinhart Collection, at the Courtauld, consists of a selection of 25 absorbing paintings…
An exhilarating, uneven survey of an outstandingly eccentric British surrealist
Ithell Colquhoun was always a bit of a mystery surrealist. Her greatest hit is the unsettling, dream-like ‘Scylla’ (1938), a…
