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At the Royal Academy

Peter Campbell: Hungarian Photography, 28 July 2011

... are unique works of art. Even though it meant reproductions so small that they are very hard to read, the effect is magisterial. Rudloph Balogh, ‘Six Cattle’ (1930) In the history of photography the status of the print has never been stable. Is it the primary aesthetic object? Or, along with the negative, transparency or digital file, is it just ...

A Reparation of Her Choosing

Jenny Diski: Among the Sufis, 17 December 2015

... own house and a son at boarding school. I don’t know why I expected anything of her, I hadn’t read The Golden Notebook, or any of the other books about women who actually lived lives. I sensed her confidence and sophistication. She exuded calm as we sipped the soup, though it turned out she felt nothing of the sort, as why should she, opening the door to ...

Other People’s Rooms

Peter Campbell, 7 April 1994

Inside Culture 
by David Halle.
Chicago, 261 pp., £23.95, January 1993, 0 226 31367 0
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Buildings of the United States: The Buildings of Michigan 
by Kathryn Bishop Eckert.
Oxford, 603 pp., £27.50, June 1993, 0 19 506149 7
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Buildings of the United States: The Buildings of Iowa 
by David Gebhard and Gerald Mansheim.
Oxford, 565 pp., £27.50, June 1993, 0 19 506148 9
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... must, we are privileged to, draw on a more complex, and constantly changing, language. It must be read in the details. Halle’s statistical tables do not stop him presenting anecdotal evidence, or showing photographs of the rooms he discusses. He begins his book with an account of a telling failure: One evening, I knocked on the door of a Manhattan ...

At Tate Britain

Peter Campbell: Howard Hodgkin, 6 July 2006

... of the picture plane, to reject any hint of implied space. Another reason Hodgkin’s pictures read as views is the frames. Not just the actual picture frames which are often painted and thus part of the work, but framing bands of colour within that frame (the green border in In Raimund Stecker’s Garden, for example, the brown one in Italy). You look out ...

At the V&A

Peter Campbell: Among the Artefacts, 13 December 2001

... and tails off in unfelt correctness). If, in these Japanese paintings and prints, we could read the calligraphy, differentiate the faces, interpret signals of social class in costume (it would take a long time to absorb the information in the admirably full catalogue notes), we would no longer see them as timeless and beyond fashion, a false notion ...

At Tate Britain

Peter Campbell: Reynolds’s theatrical portraits, 7 July 2005

... in fancy borders which are stuck below some of the pictures, all these help fill out what can be read from the paintings themselves: that Reynolds, in his seven-hours-a-day, seven-days-a-week pursuit of reputation, fame and wealth, and in his ardent prosecution of his role as a maker of iconic portraits, not only made likenesses of distinguished literary ...

At Tate Britain

Peter Campbell: The art of protest, 8 February 2007

... this legislation was of Maya Evans, arrested at the Cenotaph for not having received permission to read out the names of 97 British soldiers killed in Iraq. Haw’s protest slipped through a loophole: the Act was not retrospective and he continues his vigil. On 22 January he won a legal ruling that, in its present reduced state (an area three metres ...

At Tate Modern

Peter Campbell: Constructivism, 9 April 2009

... conviction in the potential of utopian abstraction to transform everyday life.’ But even if you read it as ‘two of the’, and accept the suggestion that their ‘collaborative way of working and direct involvement in local industries has influenced 20th-century fashion, media, theatre and cinema’, you would also want to say something about failed hopes ...

At the National Gallery

Peter Campbell: Impressionist Pictures, 2 November 2000

... a snatch of distant landscape from Ribera. In all of these the nature of the performance can be read from what the paint tells about the path of the brush. There was a long tradition of small landscape paintings made from nature, and the Barbizon painters also made fluent gestures with big brushes. Besides, every kind of painter produced studies and ...

At the Science Museum

Peter Campbell: The Rolls-Royce Merlin and other engines, 3 February 2005

... a V formation of 12 cylinders replaces the radial arrangement of earlier engines around it – read as analogous to simple Darwinian evolution. Fitter designs replace those which are less fit. When you look for the reasons underlying mutations that have changed the look of engines, you find a narrative of unexpected problems met and unexpected failures ...

In Auvergne

Peter Campbell: Painting in the Open Air, 1 September 2005

... something from which a national school will grow, in his transcriptions of Old World scenery.I read Roderick Hudson on the train that took me down through France to the Auvergne, with a watercolour box and binoculars, the paraphernalia of two amateur pursuits likely to expose one to curiosity or mild derision, in my luggage. Bird watching, which is ...

At Somerset House

Peter Campbell: Islamic art, 6 May 2004

... pattern alone. Although we must take care when making judgments about the look of texts we can’t read, there are pages here from two North African Korans of the eighth and 11th centuries in the geometric Kufic script which combine tremendous calligraphic energy with such perfect manual control that one is almost grateful for the ignorance that hides the ...

At Salford Quays

Peter Campbell: Daniel Libeskind, 17 October 2002

... which it is not easy to follow the geometry of the curved metal-clad surfaces. I am tempted to read the way the outer walls follow the acute angles of a Vauban bastion and the inner ‘silos’ (which house thematic displays) the twists of Great War trenches as a commentary on military engineering. But even the plan is really much closer to the abstract ...

Adrian

Peter Campbell, 5 December 1985

... one sort of literary package. The Catcher in the Rye and Lucky Jim both seemed to have it when we read them in the Fifties, and it’s what makes song-writers sound like sages – Ian Dury has, appropriately, done a song to back the television credits for The Secret Diary. It is a quality which seems to be anti-authoritarian, but only because it notices how ...

On Tour

Peter Howarth, 2 March 2023

... poets. ‘At the nights I run,’ one stage manager said to me, ‘you can ask if anyone wants to read, and you’ll get silence. Then after a few pros have had a go, you try again. It always turns out that about a third of the people there have got some sort of poem on their phone, though they’ve never showed it to anyone.’At lunchtime, the screen showed ...

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