Introduction Since its beginning, and until very recently, Fine Art education has been evolutionary. Received wisdom that the modus operandi of teaching art were static until being gradually upset in the decades after 1945 is an exaggeration. The objective to produce basic competence in practical skills in painting and sculpture was indeed a constant ambition, but the methods by which […]

Imagine the most absurd and outrageous provocations about art that you can. For example: there is no such thing as a pure work of art; artists are unusually ill-informed; there is no market reward for good art; government subsidies make artists poor. Both defensive supporters of state funding and critical traditionalists will be muttering that art should not be viewed […]

The Times – God bless its little cotton socks – has just been celebrating the triumphal return of the 1990s as a creative force. “Suddenly contemporary art” it crows, “was part of popular culture. The Royal Academy’s landmark Sensation show in 1997 was a turning point.” It was so indeed, but not exactly in the terms the article intends. Here […]

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  ALEXANDER ADAMS rehearses recent arguments concerning freedom of expression before arriving at his own conclusion.   “One person with a belief is equal to a force of 99 who have only interests.” JOHN STUART MILL       On February 14th, 2015 an Islamist gunman attacked a café in Copenhagen where a debate on free speech was being held. […]

Giles Auty considers the purchase of Jackson Pollock’s Blue Poles by the National Gallery of Australia in Canberra in 1973 and what such an acquisition signifies. A few months back, a rash of articles appeared in the press which commemorated the dismissal of the Whitlam government thirty years ago and commented on the continuing sense of grievance felt by his […]

In the dash to internationalism the national is trampled underfoot, argues Laura Gascoigne. In November, Lund Humphries celebrated 75 years of publishing books on British art with an anniversary talk at the ICA titled ‘Is there such a thing as British art?’ It was chaired by Tim Marlow, now of the Royal Academy, and debated by a panel composed of […]

1 Mrs Cravat emerges from her Islington bunker. She keeps a large stuffed bear in the hallway – Rupert had seen better days. His pelt is wearing a little thin down where she strokes him for luck, but he has sentimental value. She bought him off Chris Farlow when he had a Nazi regalia shop on the Essex Road. She’ll […]

John Lessore and John Wonnacott wrote the following essays for the catalogue accompanying their joint exhibition, The Life Room and the City, at Norwich Castle Museum and Art Gallery First, John Lessore discusses his attachment to drawing and his approaches to teaching it As a student, I wanted to be taught, and the lack of serious teaching, even in the […]

Patrick Cullen explains the enduring appeal of paintings requiring only to be looked at I showed some paintings of flowers I had done recently to a friend. He said he quite liked them but they appeared to create a problem for him. He seemed to feel that flowers were no longer a subject for serious artists, more one for Sunday […]