Art

Saturday

Ian Rankin

Folkie supergroup

The Fence Collective is a loose association of singers, musicians and songwriters, at least a few of whom live in and around Anstruther in Fife. The Fence Collective is a loose association of singers, musicians and songwriters, at least a few of whom live in and around Anstruther in Fife. Anstruther is a fishing village and not the first place you’d go looking for a revolution, but the Fence Collective has other ideas. It hosts events and festivals and even has its own record company. I was brought up in Fife, so when I heard about Fence I was curious. Soon thereafter I was part of the congregation and singing

Andrew Lambirth

A Cumberland legend

The legend of the glamorous artist Sheila Fell (1931–79), with her striking looks — black hair, white skin, large eyes — who died young, has tended to obscure the real achievement of her art. The legend of the glamorous artist Sheila Fell (1931–79), with her striking looks — black hair, white skin, large eyes — who died young, has tended to obscure the real achievement of her art. She was part of a talented generation which included her friends Frank Auerbach, Jeffery Camp and Craigie Aitchison, and was given her first solo exhibition at the age of 24 by Helen Lessore at the Beaux Arts Gallery in London. Fell came

Saturday

Andrew Lambirth

A look ahead | 18 December 2010

The trend of fewer temporary exhibitions in our museums is becoming established, as the cost of mounting blockbusters escalates beyond even the generous reach of sponsorship. This is in sharp contrast to the commercial galleries, which still put on as many as 10 or 15 different shows a year in the hope of tempting clients to part with their cash. Taking a keen look at forthcoming exhibitions is always a mixed pleasure: the expected counterpointed with the novel, the obvious with the obscure. Thankfully, there are still enough exciting prospects in the public sector to raise the spirits and move us to make a note in the diary. At the

William Feaver

Another form of segregation

N.B. This review was published without its final two paragraphs in the 18th December 2010 issue of The Spectator. These paragraphs have been reinstated for the online version below. These volumes — four for now, and a further six to come — are saddled with a title redolent of lantern lectures delivered in Godalming, say, round about the time that Rorke’s Drift became legendary overnight. The Image of the Black suggests people, or things, of a certain stamp. Penny blacks, so to speak: picked out with tweezers, profiles raised, their blackness being their distinction, their black face value assessed within the swelling majesty of Western Art. That was the idea,

Saturday

Andrew Lambirth

Exhibitions Round-up: lifting the heart

The run-up to Christmas is the perfect season for an exhibition of Andrew Logan’s joyful and extravagant art. The run-up to Christmas is the perfect season for an exhibition of Andrew Logan’s joyful and extravagant art. At Flowers (82 Kingsland Road, E2, until 31 December) is an installation of glittering sculptures which lightens the spirit and brings a song to the lips. Fashion meets fantasy in Logan’s signature mirror sculptures, his unique blend of resin, glass, fibreglass, paint and glitter. For the past 40 years, Logan (born 1945) has brought colour and light into people’s lives. He was a pioneer of the sensational long before the YBAs toddled into view;

Saturday

Niru Ratnam

Come together

Niru Ratnam invites you to join in and take off your trousers in the name of art at the taxpayer’s expense — while you still can In the week before the G20 summit in early 2009, I found myself sitting at a large, round, glass-topped table in the new extension to the Whitechapel Gallery. A large tapestry copy of Picasso’s ‘Guernica’ hung on one of the walls nearby. Around the table were 30-odd people made up of students, random art folk, regulars of the Anarchist Bookshop located in the alley next to the gallery and, somewhat incongruously, the managing director of the Whitechapel Gallery looking dapper, if increasingly confused, in

Andrew Lambirth

Forget the matchstick men

Here at last is a book that takes L. S. Lowry’s art seriously and treats it with the scholarly attention it deserves. Here at last is a book that takes L. S. Lowry’s art seriously and treats it with the scholarly attention it deserves. Tom Rosenthal has been a life-long admirer of Lowry’s work, spending his formative years in Greater Manchester and even interviewing the old curmudgeon for Radio 3 in the 1960s. One of his aims in this book is to dispel the various myths that have grown up around Lowry and his critically underestimated art. It has become fashionable in the art world to look down on Lowry

Saturday

Susan Moore

Chinese burn

A kind of madness has taken grip of the art market. It seems that the world’s super-rich have decided that money has no value — or at least that it has a value different from that understood by the rest of us. Just this month, one of Alma Tadema’s fanciful biblical epics was sold for an incredible $36 million (previous auction record $2.8 million), a Modigliani changed hands at $69 million (previous record $31 million), while a now famous porcelain vase made for the Emperor Qianlong, which turned up in a bungalow in Pinner, realised more than £53 million — a world auction record for any Chinese work of art.

Andrew Lambirth

The folly of ambition

Andrew Lambirth talks to the artist Keith Coventry about drawing inspiration from Sickert, Churchill and Ladybird Books Keith Coventry has no time to visit the two lap-dancing clubs that lurk a few doors down from his studio, a small room with barred windows in a light-industrial block in the East End. Here, he puts in long hours, often forgetting to eat in his total immersion in the act of putting paint on canvas. He grudgingly admits to being a workaholic. This is where he painted ‘Spectrum Jesus’, which two months ago won him the £25,000 John Moores Painting Prize, one of the most prestigious accolades in the art world. Winning

Austen Saunders

A thinker of arresting and compelling grandeur

John Ruskin is the greatest writer whom, today, an educated person can admit not having read without embarrassment. One professes ignorance of Shakespeare or Dickens with apology or defiance, but most of us still seem unaware that Ruskin is as essential as Chaucer or Milton to understanding ourselves within a world (for all its ills), of beauty and happiness. Hopefully The Worlds of John Ruskin will bring new readers to one of modernity’s most remarkable thinkers. Ruskin first made his name with Modern Painters, a five volume work published between 1843 and 1860 which established Ruskin as the dominant art critic of the mid-19th century and is remembered chiefly for

Alan Powers

Vertically challenged

St Paul’s Cathedral is quite rightly something of a national obsession. No other building has protected ‘view corridors’ as a result of legislation in 1935, when new building regulations allowed the surrounding buildings — notoriously a telephone exchange to the south — to overtop the cathedral’s cornice line. These corridors, extending like an unseen net as far afield as Richmond Hill, make architects unaccountably cross, as if they were an unfair curb on the alliance of art and Mammon. Thank God they are there, and that the tallest buildings, springing up once again like genetically modified beanstalks, are at least corralled east of Bank. St Paul’s Cathedral is quite rightly

Ian Dunlop

Ring of truth

The glamorous art world of Manhattan is a natural subject for novelists and film-makers, but with the honourable exception of William Boyd’s Stars and Bars, written before the great art boom of recent times got going, few of the novels or movies have quite got it right. The glamorous art world of Manhattan is a natural subject for novelists and film-makers, but with the honourable exception of William Boyd’s Stars and Bars, written before the great art boom of recent times got going, few of the novels or movies have quite got it right. But now comes a novel by Steve Martin, An Object of Beauty, which does seem to

Saturday

Lucien De-Guise

Middle East meets West

The Islamic-art market has seen some changes since it emerged in the late-19th century. At that time, anything Middle Eastern was likely to be classified as ‘Persian’, while for most of the 20th century the preferred term was ‘Islamic art’. Now, it is ‘art of the Islamic world’, and the market is stronger than ever. Last month at Sotheby’s saw a new record for an Islamic weapon: almost £4 million for a dagger from 15th-century al-Andalus. The Islamic-art market has seen some changes since it emerged in the late-19th century. At that time, anything Middle Eastern was likely to be classified as ‘Persian’, while for most of the 20th century

Gary Dexter

The body in the library

Jacques Bonnet is a distinguished French art historian and novelist who has amassed a private library of 40,000 volumes (around double the number contained in the average Waterstones). Phantoms on the Bookshelves is Bonnet’s meditation on a life lived with so many books. Particularly pressing is the matter of classification. ‘Should I put Norbert Elias’s What is Sociology? next to his more historical works?’ he worries. ‘Should Paul Veyne’s Comment on écrit l’histoire be next to his studies of sexuality and euertegism (gift-giving) in ancient Rome? Does Picasso count as French or Spanish? Modigliani as Italian or French? And what am I to do with Michelangelo?’ At this point one

Tuesday

The Spectator

Across the site | 19 October 2010

Just to point CoffeeHousers in the direction of a trio of delights across the site. First up, is Lloyd Evans’ review of a talk by Kevin Spacey that the Spectator hosted last week, which you can read over at the Spectator Arts Blog. And we also have a web exclusive review, by Lloyd again, of a Spectator debate on faith schools, here.     Then there’s our vote for The Greatest Parliamentarian of the Last 25 Years. There are only a few days left to nominate your choice for the award, which you can do so here. The most persuasive nomination that we receive will win its author a pair of

Saturday

Mary Wakefield

Director’s cut

In the spring of 2008 I went on a press trip with the director of the British Museum, Neil MacGregor, to Hadrian’s wall. It was one of a series of jaunts planned by the BM in the run-up to its great Hadrian exhibition, a little Roman holiday. But though the wall was fascinating, I spent most of my time inspecting the director. He’s charming and universally admired — but also enigmatic. What are his politics? What does he do for fun? Nobody seems to know. So I watched him at Segedunum in Newcastle, talking to local grandees, charming, mercurial, alert. I watched him out by Housesteads fort, chatting to the

Susan Moore

Art is a high-risk business

Never before have so many people in so many places collected works of art. In the past decade, the auction houses in particular have made heroic efforts to expand their markets, both by reaching out to emerging economies and by embracing new technologies. Thanks to instant translation by online search engines and live online auction platforms, it is now as easy to buy a work of art offered by an English provincial auction house or a Manhattan dealer while sitting in Guangzhou as it is from Guildford. The international art market has become global, and art is now seen as an asset class for investors. Given the current performance of

Saturday

Lloyd Evans

Double exposure

I never thought I’d write these words. I never thought I’d write these words. This book is unclassifiable. It belongs to a whole new genre. The field of literature has been extended! And I saw it happen. Martin Gayford, who writes for The Spectator and whom I’ve never met, kept a diary during the seven months he spent sitting for the painter Lucian Freud in 2003/4. The book is a journal, an act of confession, a character study of Freud, a piecemeal survey of art history and an investigation into the practicalities of portraiture. It’s also a hostage drama. Gayford has no idea how many months or years the painting

Thursday

Sunday

Fraser Nelson

What it is to be British

What is it about the British and flag waving? I ask after watching last night’s superlative BBC Proms, a brilliant end to the best season for years. On HD and wired to the hifi, it was all the better. As the end approached, my Czech mother-in-law asked: if this is Britain’s flagship musical event, why are there so many foreign flags? It’s hard to explain. Britain has a mutating relationship with flags and nationality. Twenty years ago, the Union flag was used in England matches, then devolution came and the St George’s cross made an emphatic comeback. I’m sure I saw a Cornish flag last night, and at least one