Arts Reviews

The good, bad and ugly in arts and exhbitions

Thursday

Andrew Lambirth

Ditchling Museum’s guiding dream

The charming East Sussex village of Ditchling lies at the foot of the South Downs, its narrow streets lined with ancient houses and pubs. For much of the 20th century it was home to a community of artists and craftsmen, the most famous of whom are Eric Gill and David Jones, master and pupil. In 1985, two sisters, Hilary and Joanna Bourne, founded a museum to preserve and celebrate the wealth of local creativity. It is this museum that reopened at the end of September after a major overhaul and redevelopment by Adam Richards Architects. The results are very fine indeed: this is one of the loveliest small museums I

Tanya Harrod

Where’s the fun, Barbican? 

Pop Art Design, curated by the Vitra Design Museum and currently at the Barbican, opens with Richard Hamilton’s 1956 ‘Just what makes today’s homes so different, so appealing?’. Made as a poster for the Whitechapel show This is Tomorrow, it’s a witty collage of consumer fantasies scissored out of magazines, reminding us that interest in popular culture among British artists operated as a humorous, semi-anthropological collegiate research project. In part, British Pop was a riposte to the lushness of American consumerism from a small island that had won the war but had lost the peace. Pop Art in the United States got under way later and many American Pop artists

Ariane Bankes

The Lisson show is so hermetic, sometimes we flounder for meaning

The title of the Lisson Gallery’s new show, Nostalgic for the Future, could sum up the gallery’s whole raison d’être. From its inception in 1967, the Lisson has championed the cutting edge, providing a British and European platform for the major conceptual and minimal artists from the States — Sol LeWitt, Carl Andre and Dan Flavin among them — and following that in the 1980s with its promotion of New British Sculptors such as Anish Kapoor and Tony Cragg. While this generation wittily subverted the material world to question our position within it, their heirs in turn seem more interested in querying the position of art in the world —

Laura Gascoigne

‘Squiggle, squiggle, ooh, good…’ Tate St Ives shows how sexy the octopus can be

One of the more exotic attractions at the 1939–40 World’s Fair in New York was Salvador Dalí’s ‘Dream of Venus Pavilion’, which behind its surreal façade — an architectural marriage between Antoni Gaudí and a coral reef — catered to the public’s aquatic fantasies of spume-born goddesses and topless sirens. Something similar is going on behind the cool modernist exterior of Tate St Ives. Aquatopia: The Imaginary of the Ocean Deep is a bottom-trawler of an exhibition that dredges the depths of the human psyche for fishy fantasies. As the show’s catalogue points out, earth’s deepest oceans — the murky regions known, in descending order, as bathypelagic, abyssopelagic and hadal

Steerpike Steerpike

Did anybody expect the old Pythons?

You wait thirty years for a reunion and the moment one is announced, you wish the idea would shrivel up and die. Purists look away now. I’m not sure you are going to like the Monty Python reunion, announced today for 1 July 2014 at the soulless cavern that is the O2. Opening with an unfunny Boris impersonator, a bad joke about Meryl Streep, and a moderately amusing gag about Qatar winning the bid to host the show, things didn’t get any better. Not even with a cry of ‘nobody expects the Spanish Inquisition!’ when the first hack to ask a question ‘just happened’ to be Spanish. The negative body

Peter Hoskin

Jennifer Lawrence is plain brilliant in The Hunger Games: Catching Fire

In the future, everyone will have silly names. Some people will be called Haymitch Abernathy. Others will be Effie Trinket or Finnick Odair. And they’ll all live in various districts, numbered from one to 12. And because those districts rebelled against the ruling regime that one time, their children might be selected for an annual televised extravaganza called the Hunger Games. It’s a bit like school sports day, only bloodier. The kids have to kill each other with an excruciating variety of sharp implements. The winner is the one who doesn’t end up with a spear through their neck — and all glory be to them. Or at least that’s

Michael Tanner

Baroque opera shows vicious people can sometimes be happy — and we’re glad they are

Visits by English Touring Opera are always to be looked forward to, but this autumn it has surpassed itself with three baroque works, two of them masterpieces and the third a fascinating rarity, all performed by casts of astonishingly high calibre, and produced helpfully, resourcefully, with simple elegant sets, which are all that is needed, though they probably cost a thousandth as much as the eye-catching splurges that we often see in London. First up, anyway at the Arts Theatre Cambridge, was the rarity: Cavalli’s Jason (intelligent to translate the titles where possible, since all the operas are sung in English). Apparently, it was the 17th century’s most popular opera,

Lloyd Evans Lloyd Evans

Finally — a play about insomnia that cures insomnia

Athol Fugard is regarded as a theatrical titan but I usually need a microscope to find any trace of greatness in his work. The Island is set in a South African prison camp in the 1960s. Two banged-up lags, John and Winston, are toiling in the noonday heat. The governor torments them with a Kafka-esque prank. They’re placed at opposite ends of a sandpit and given shovels and wheelbarrows. Each must amass a dune of gravel, which his colleague is forced to deplete. This backbreaking futility is supposed to grind their spirits into nothing. It fails. Released from punishment at sundown, they retreat to their cells where they express themselves

Clarissa Tan

Why doesn’t Doctor Who travel far from Britain? 

If I could go back in time, I’d watch Doctor Who from the very first episode. I wasn’t born in Britain, and with the 50th anniversary of the series hurtling towards us like an Earth-bound Tardis, I’m wondering if I might understand this cultural touchstone better if I’d grown up in the country, along with the show. But Doctor Who neophytes are in luck, because there’s a tiny loop in the time-space continuum whereby we can quickly catch up on Time Lord lore. To celebrate the 50th, the BBC has commissioned a host of programmes, many setting out to explain Doctor Who’s place as a British icon. This week there’s

Claudia Massie

Weaving the colours of music 

One loom, six metres in length, currently dominates the great, light-filled weaving hall of Edinburgh’s renowned tapestry workshop, Dovecot Studios. At its side sits Master Weaver Naomi Robertson, threading yarn from countless dangling bobbins between and around taut vertical strings, each dabbed with tiny, code-like markings. The tapestry, which is growing slowly upwards from the base of the loom, forms a spread of pinks, reds and golds, shifting horizontally through rich tonal ranges. The subject is as yet unclear. Given the intensity of the colour in this tapestry, it may seem surprising that its architect should be the painter Alison Watt, known for her bleached-out portraiture and paintings of white

Kate Chisholm

What Jackie did after JFK was assassinated

A surfeit of anniversaries this week reminded us that on the day of President Kennedy’s assassination, C.S. Lewis (born 1898) and Aldous Huxley (born 1894) also died. Three such different figures are hard to imagine — Kennedy, the wily politician, Lewis, the tortured academic, Huxley the cool intellectual. Lewis is the one whose image and personality don’t fit; a man who appears cast from a different age from Kennedy and also from Huxley, who you can well imagine wielding an iPod and Twitter account. Yet it’s the pipe-smoking, tweed-suited Lewis who has been given the celebrity treatment this week, while the coolly cynical Huxley has been silenced, with not a

David Blackburn

Mass destruction in an age of mass media

Catalyst: Contemporary Art and War at the Imperial War Museum North (until 23 February) is alone worth a trip to Manchester. The exhibition shows how artists living in the age of mass media have explored conflict in the age of mass destruction. The most successful works are not those that ‘make a statement’ but those which address the viewer, usually by embarrassing their indifference and inspiring empathy. Taysir Batniji’s ‘Gaza Homes’ is a set of mock estate agents’ particulars for bomb-damaged houses. Captions about ‘well appointed’ rooms, ‘airy living space’ and ‘beach access’ are a joke in bad taste. Yet Batniji’s satire is so much more effective than ‘Photo Op’

Kit Toda

Dining with a Picasso

We had decided to dine out with our latest Picasso. The Picasso sat at the head of our table. It looked at us both. We sat looking at each other. We did not move lest we realised, fork poised, that the naked, smudge-faced boy with the horse was drinking our wine.

Thursday

Niru Ratnam

Do you think this painting is worth $48.4 million?

Earlier this year a painting by Jean-Michel Basquiat, depicting two figures stoned on the hallucinogenic drug PCP, was offered for sale at Christie’s in New York. ‘Dustheads’ was given an estimated sales tag of $25–35 million. In the end, the hammer came down at $48.8 million, a sum that easily broke the previous record for the artist, $26.4 million, which was achieved last November. It was the fourth time in 12 months that Basquiat’s record price had been smashed, and confirmed the artist’s dominance of the contemporary market. Such record-breaking at auction tends to elicit valedictory statements from auction houses and Christie’s Loic Gouzer duly obliged: ‘“Dustheads” is pure, concentrated

Andrew Lambirth

The painter of poetry

The famous court case in which Ruskin accused Whistler of ‘flinging a pot of paint in the public’s face’ continues to rumble through the public response to art in this country. The man in the street, the man on the Clapham Omnibus and most of the men who drive black cabs all like their art to be recognisable. (Perhaps women are less hidebound.) Their definition of skill is the ability to paint with photographic fidelity, and they prefer art to tell a story. James Abbott McNeill Whistler (1834–1903), leading exponent of ‘art for art’s sake’, painted pure visual poetry rather than the hard facts of detailed realism. His paintings are

Alan Brownjohn

Nevertheless

Like the machine the day had churned in dark circles, But when at last I came back the whole contraption Had stopped too soon, all its baggage had halted In a stubborn wish to stay there and nowhere else. I wouldn’t know when this had happened, Maybe some time in the first half-hour while I Was abroad it had issued a rap, a shudder, A shake, and a stillness. Its red warning Stayed alight on the closed door. Its water Wasn’t going to break into any outlet, Its porthole gave onto a darkness that refused Any sound or movement, and I found myself Looking out for comfort at a clear

James Mumford

The sickeningly talented Johnny Flynn

‘I am walking in some mountains’. That’s the out-of-office that pops up when I email Johnny Flynn to request an interview. The folk star and West End actor is on holiday. But he’s not doing the Three Peaks Challenge. No, he’s tracing St Paul’s third missionary journey across southern Turkey, a 30th birthday present from Bea, his wife and teenage sweetheart. ‘I’m obsessed with pilgrimages,’ Flynn says. He’s also done the Way of St James, which finishes in Santiago de Compostela. ‘I love following old routes, imagining the consciousness of those who walked them.’ When he’s come down from the mountains we sit down to talk about the recent release

Deborah Ross

The Butler, about a black domestic in the White House, is too painfully obvious

The Butler tells the story of an African–American butler at the White House who served eight American presidents over three decades and it plays as a ‘greatest hits’ of the civil rights movement, along with whatever else they decided to throw in, like Vietnam, apartheid, and Lyndon B. Johnson on the can. (Actually, Lyndon B. Johnson on the can was rather the highlight.) It is heavy-handed, predictable, bland and so contrived in its sentimentality I sniggered at what should have been the moments of emotional impact. However, all was not lost, as I did have a nice little doze, which, as it was a morning screening, set me up quite

Lloyd Evans Lloyd Evans

‘Keeler’ is not just about Tory bigwigs chasing nymphettes around the pool

It’s an unlovely venue, for sure. Charing Cross Theatre, underneath the arches, likes to welcome vagrant plays that can’t find a home elsewhere. The dripping exterior, opposite a gay love-hub named Heaven, feels as if it’s paved with tears. The foyer is scented with mildewed chip fat and the ink-black auditorium looks like a closed-down fleapit from the 1950s. Perhaps this air of neglect explains why few of its productions win rave reviews. Keeler, starring Paul Nicholas, got an unfair monstering. The play is an absorbing docudrama, which explores the relationship between Stephen Ward and his protégée Christine Keeler. Their flatshare was a complex and unusual set-up. Ward was multitalented,

Michael Tanner

The ENO’s Magic Flute ignores everything that makes Mozart’s opera great

A new production of The Magic Flute is something to look forward to, if with apprehension. How many aspects of this protean masterpiece will it encompass, and how many will be neglected or distorted? The answer, in the case of Simon McBurney’s effort at the Coliseum, is that almost everything that contributes to the work’s greatness is ignored or reduced, so that an evening that should be spent in a state of growing elation merely induces irritation deepening to rage, with patches of life-draining boredom. Not that the first-night audience shared my view, to judge from the roar of applause that greeted the final curtain, and the frequent guffaws and