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Diary

Peter Pomerantsev: In Brighton Beach, 13 September 2012

... US is home to some 6.5 million Russian-language immigrants, 1.6 million of whom live in the New York Tri-State Area. Most arrived broke in two waves of immigration, in the 1970s and then the 1990s, but now they’re one of the most successful immigrant groups in the city, outstripping even the Chinese in median income. Politicians are suddenly waking up to ...

Firm Lines

Hermione Lee, 17 November 1983

Bartleby in Manhattan, and Other Essays 
by Elizabeth Hardwick.
Weidenfeld, 292 pp., £8.95, September 1983, 0 297 78357 2
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... of Kipling). Indeed, the last essay in Bartleby in Manhattan is an attack on an English critic, Peter Conrad, for trying his hand at just this sort of thing. In these American observers and explainers two characteristics recur. The first is a close attention to the significance of detail (‘no ideas but in things’) which is often left to speak for ...

Spells of Levitation

Lorna Sage: Deborah Eisenberg, 3 September 1998

All around Atlantis 
by Deborah Eisenberg.
Granta, 232 pp., £8.99, March 1998, 1 86207 161 6
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... great economy, but convey a vivid sense of place (she herself comes from Chicago, and lives in New York). She specialises in brief moments of stillness, when things fall into focus. Her characters are often treated to spells of levitation during which they see themselves from outside, or from the future, or from some point near the ceiling, as in those ...

At the Jeu de Paume

Brian Dillon: Peter Hujar, 19 December 2019

... The​ American photographer Peter Hujar once told a friend who was feeling unattractive: ‘As you’re walking along, say to yourself: I’m me.’ Hujar’s subjects seem to have heeded the same advice: they exhibit a self-possession tending to the monumental. You can see it in his 1981 portrait of the actor Madeline Kahn ...

New Looks, New Newspapers

Peter Campbell, 2 June 1988

The Graphic Language of Neville Brody 
by Jon Wozencroft.
Thames and Hudson, 160 pp., £14.95, April 1988, 0 500 27496 7
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The Making of the ‘Independent’ 
by Michael Crozier.
Gordon Fraser, 128 pp., £8.95, May 1988, 0 86092 107 7
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... that one of the first issues the paper has chosen to take a stand on is the wretched case made by Peter Levi for the wretched poems which the paper went with him in attributing to Shakespeare. Those I know who have become regular readers praise its journalistic craftsmanship in much the same terms as I would praise its design: it makes useful information ...

Open House

Peter Campbell: Looking through other people’s windows, 6 October 2005

... three times a week; you can look right through its width from front entrance to back door. In New York spaces like this are often public as part of a deal the developer has struck with the planners; here the us-and-them confrontation is a mild affront, like the envy-inducing view into any other desirable enclosure. What the view from outside does not tell ...

At the V&A and Tate Modern

Peter Campbell: Modernist Design, 20 April 2006

... were on a par with rugs, tables and chairs. It would have demeaned an abstract painter in New York in the 1950s to suggest that his (or her) work was just part of a design ensemble. But for Modernists like Le Corbusier, painting had no special status: Ozenfant and he promoted a style – Purism – which exemplified his belief that all art and design ...

At the Wallace Collection

Peter Campbell: Anthony Powell’s artists, 26 January 2006

... beaks which emerge from the webs of lines in David Levine’s wonderful pen drawings for the New York Review of Books, and his watercolour and pencil heads for the New Yorker, tend to be riffs on existing images. Boxer, in many ways a far less accomplished artist, achieved likeness though a grasp of significant features and brilliant acts of elimination. The ...

At the National Gallery

Peter Campbell: Jan Gossaert, 17 March 2011

... work, not just what is shown here in London or what was seen in the companion exhibition in New York, persuades you that it was his masterpiece.* The painter’s attention is of the kind that lets no part of the surface merely suggest fur, flesh, cloth or metal – he includes every hair and stitch. Oil painting like this was the North’s gift to the ...

At Tate Britain

Peter Campbell: Rachel Whiteread, 7 October 2010

... and positive and negative casts: of a room (Ghost, 1990), of a house (House, 1993), of a New York rooftop water tower (Water Tower, 1997). They are as open to personal interpretation as the plinth and, like found objects, as powerful or delightful (or frightening or horrid or funny or strange) as you like to make them. On the other hand, the meaning you ...

At Tate Modern

Peter Campbell: Miró, 14 July 2011

... Republic. Although the titles (Figure, Woman) aren’t what Miró promised Pierre Matisse, his New York dealer (‘I will give them titles, since they are based on reality’), the figures are fierce enough to be easily read as expressions of political despair. ‘Still Life with Old Shoe’, 1937 You meet the question of just how art that stayed clear ...

At 1 Chiltern Street

Peter Campbell: Suits, 6 August 2009

... and so on – that re-created the displays of goods for sale that homeless people place on New York sidewalks. That collection was put out for one day in 1991, set in groups along 45 feet of pavement in Cooper Square. Generally speaking Brobdingnagian is gross, Lilliputian quaint or playful. Different scales play on feelings in different ways. Take Ron ...

At the Hayward

Peter Campbell: Paul Klee, 21 March 2002

... A decade later, these fields of marks would seem to have prefigured what was happening in New York abstract painting.From the time he was appointed to the staff of the Bauhaus in 1921, Klee wrote and thought a lot about the nature of art and how it might be taught, and in his catalogue essay Robert Kudielka turns to the writings for explanations. In ...

On the Catwalk

Peter Campbell: Taste and exclusivity, 14 November 2002

... have driven artists and their galleries out of the SoHo lofts and streets where the School of New York once flourished. The exhibits include some very pretty asides on clothes: Maureen Connor’s 1981 Birth of the Bustle, for example, in woven reed and organdy is as beautifully made and as pretty as anything in Versace. But most of the other attempts to ...

At the National Portrait Gallery

Peter Campbell: Fashion photography, 23 September 2004

... lap and waves a champagne bottle as the pair gleam and glitter smugly against the skyline of New York. Most photographers, even fashion photographers, during those decades built reputations by making images which resemble one another – one kind of light, one way of printing in black and white, one attitude to the model. Parkinson did fashion the compliment ...

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