At the Towner Gallery: Jananne Al-Ani

David Trotter, 12 May 2022

The point of view is that of the operator of a drone or missile locked onto its target, as the dissolves take us from one appointment to another with Schwarzkopfian relish. Still, hurry isn’t the whole...

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Thomas Gainsborough complained that he was ‘sick of portraits’, but he seems, nonetheless, to have valued his fancy pictures – these were the works for which he charged the highest prices. And unlike...

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At the Ikon Gallery: Carlo Crivelli

Nicholas Penny, 7 April 2022

Carlo Crivelli invites us to think about the nature of art and illusion. Does the trick of painting a fly on a painting serve also to remind us that the painting itself is a work of fiction, or does it...

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On Roy DeCarava

Gazelle Mba, 7 April 2022

Roy DeCarava saw things that other people didn’t. He saw beauty in a crushed aluminium can and the light behind a pair of curtains. He could see music, not just hear it. His pictures capture what jazz...

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The world Jacques Lartigue took part in and portrayed was one where Zola ran into Colette, where Nana met Gigi. And the names – or rather, the nicknames – are part of its sonic environment. Lartigue...

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Yves Saint Laurent’s​ admirers seemed determined to memorialise him when he was alive and by the end of his career they had largely succeeded. In 1983, he was the first living designer to...

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Ryusuke​ Hamaguchi admits that he worried about his film, Wheel of Fortune and Fantasy: ‘I was actually scared that maybe I was writing the same story three times.’ We don’t...

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Serious Mayhem: The McLaren Strand

Simon Reynolds, 10 March 2022

The Sex Pistols, Malcolm McLaren declared, ‘were anti-music and anti-business’, yet ‘God Save the Queen’ outsold Rod Stewart twice over. This was his knack, and his downfall: to take the uncommercial...

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At the Barnes: Suzanne Valadon

Bridget Alsdorf, 10 March 2022

Suzanne Valadon liked sharp elbows, jutting shoulder blades, knobbly knees and abdominal folds, but her figures are also shaped by her knowledge of the strain of holding a challenging pose. She was once...

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On the one hand, the rubbish deployed by Schwitters affronted traditional ideas of artmaking; on the other, its use pointed to a new aesthetic responsive to the ruinous aftermath of the war. To lose this...

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Investigate the Sock: Garbo’s Equivocation

David Trotter, 24 February 2022

With Garbo, the process of distillation out of which stars are made reached a limit so absolute that hardly anything remains by way of ascertainable mortal residue. To describe her life is to attempt the...

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At the Movies: ‘Nightmare Alley’

Michael Wood, 24 February 2022

The Peruvian poet​ César Vallejo wrote in a famous sonnet that he would die in Paris on a rainy Thursday. He lived in Paris, it rains quite a bit there, especially for poets, and he had a...

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At the Box: Songlines

Emma Gattey, 24 February 2022

First Australian culture is testament to 50,000 years of survival – or as many Indigenous intellectuals refer to it (incorporating a sense of political resistance), ‘survivance’. Songlines reminds...

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Why couldn’t she be fun? Nico gets her own back

Lavinia Greenlaw, 24 February 2022

Nico had the detachment of those who’ve survived by stepping outside themselves and a need for control that spiralled into inertia. She enjoined others to help her and most of the time they did. Her...

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What’s the hook?

Helen Thaventhiran, 27 January 2022

Hooked is most interested in the kinds of aesthetic experience occasioned by works that ‘strike’ us forcibly. Rita Felski describes a writer being ‘hammered by’ Matisse, of Thelma and Louise striking...

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Joel Coen’s​ The Tragedy of Macbeth takes its cue from the witches. Or, rather, its one witch, played by Kathryn Hunter, who multiplies herself when she feels like it. Early in the film...

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At the Courtauld: Hanging Paintings

Nicholas Penny, 27 January 2022

When​ the Courtauld Institute of Art moved in 1989 from a house designed by Robert Adam in Portman Square to a wing of Somerset House, William Chambers’s masterpiece, it seemed a very...

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At the V&A: Fabergé in London

Rosa Lyster, 27 January 2022

They are condensed versions of wealth, in the same way that an actual egg is a condensed version of food. They are objects to be stolen in heist films, fitting easily into a pocket and requiring no exposition,...

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