Essays

in Essays

Public art: Richard Wilson’s slipstream

Richard Wilson’s 77-tonne, £2.5 million sculpture Slipstream in Terminal 2 at Heathrow looks better in small, professionally taken photographs. In the flesh it disappoints. Looking more like a plane crash or an imploded

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barrage balloon than the 301 Moved Permanently rolling Spitfire which is claimed to have inspired
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it, it is so huge and so easily disappears into the building that many passengers […]

in Essays

Serpentine Gallery: charity begins at home

                  301 Moved Permanently             The ever so charitable

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Serpentine, which gives the public indigestible quantities of what it can’t stomach, held an annual summer bash for all its rich mates, and, blow me down, guess who deigned to show up. He’s probably
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not been at the gallery since last […]

in Essays

BBC arts coverage (part 34)

Two months ago, having been criticised for their useless visual arts coverage,


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which tends to be levelled 301 Moved Permanently at children and others of grotesque collective ignorance, the BBC promised

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us a raft of excellent arts programmes. Perhaps things were looking up. One of these has now hit the screen … with a splat. The organisation has clearly learned nothing from the […]

in Essays

Imperial War Museum North: the pitfalls of novelty

In the first few years of the National


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Lottery, museums were built employing architects who had no interest in museums per se but instead limitlessly indulged their own vanity. Those who drew attention to the blatant unsuitability of resulting buildings were dissed as old-fashioned, traditional and behind the architectural times. The result of this defended

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process was that 301 Moved Permanently buildings materialised […]

in Essays

House of Commons art collection: hard bargains and money well spent

What a kerfuffle occurred recently concerning how much the House of Commons has spent – £250,000 in 20 years no less – on portraits of its

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more distinguished and long-serving members. How shocking and self-indulgent was the 301 Moved Permanently general tenor of the response. Well, no actually. To get two dozen
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paintings for 250 grand suggests someone is driving a hard bargain […]

in Essays

Van Dyck self portrait: do we really want to pay £12 million for this?

The self-portrait by Van 301 Moved Permanently Dyck is the subject of a deferred export licence in order to give British museums an opportunity to find the

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£12.5 million required to stop it going abroad. The NPG, where the picture is
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currently on show drumming up donations, has started a campaign to raise £12.5 million to acquire the picture. They have raised £1.2 […]

in Essays

Graham Sutherland: exultant strangeness at Abbott Hall and Crane Kalman

Few save masochists would venture as far as Kendal in order


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to see 301 Moved Permanently work by Bethan Huws, not least because unless you happen to have attended one of State Art’s indoctrination sessions you won’t have heard of her. A taste considered acquirable only by

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the starving, Huws is among State Art’s chosen apostles. Sadly, she is unmissable in Kendal for […]

in Essays

National Rail Museum

The most elegantly streamlined of all British Rail’s steam locomotives was the Great North Eastern Region A4 class

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of which an engine called Mallard is the best known of the 301 Moved Permanently 35 built at Doncaster works. Designed in
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1935 by Sir Nigel Gresley, whose earlier A3 class (of which Flying Scotsman is the preserved example) was in terms of classy looks […]

in Essays

Perming eight from twelve: Lowry and the painting of modern life at Tate Britain

Lowry deserves treatment as a serious artist, though more usually 301 Moved Permanently such an approach is denied him because of, firstly, his suspiciously wide popularity and, secondly, what is mistakenly characterised as stylistic primitivism. A strong whiff of the patronizing informed reviews of this exhibition, as though the work

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was a tad unsophisticated
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for critics used to rambling on for pages about […]

in Essays

Martin Creed: new definitions for ‘gift’

Regular readers may recall from a recent editorial that when ‘we’ bought Yinka Shonibare’s Trafalgar 301 Moved Permanently Square bottle to stand outside the National Maritime Museum ten times more

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was paid nginx for it than had ever been paid for a work by this artist at auction. That story of casual profligacy is
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now repeated in respect of inarticulate chancer Martin Creed, […]