Tag: art

Total 19 Posts

Richard Hamilton

Richard Hamilton was a relative unknown when in 1956 he produced the collage for which he is still, perhaps, most famous: “Just what is it that makes today’s homes so different, so appealing?” (The original is too fragile to travel, and a print version produced by the artist in 1992

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Modernism and Dance

Susan Jones: Literature, Modernism and Dance (360pp. Oxford University Press. £55) In 1930s literary London, ballet was everywhere. Virginia Woolf, several Stracheys, the Bells, E. M. Forster, H. G. Wells, John Middleton Murry and Katherine Mansfield, Aldous Huxley, the Sitwells and T. S. Eliot all attended the Ballets Russes. Louis

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Hannah Höch, Whitechapel Gallery

Two large collages bookend Hannah Höch’s career. First, the cumbersomely titled “Schnitt mit dem Küchenmesser Dada durch die letzte Weimarer Bierbauchkulturepoche Deutschlands” (“Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany”, not on show in this exhibition), a centrifugal spray of creation which made

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Peter Doig Revisited

In 2007/8 the Tate had a splendid Peter Doig show. In honour of his Edinburgh retrospective, I am resurrecting my TLS review. *** One of the quietest but most resonant presences on the art scene since the early 1990s has been Peter Doig. He is resolutely unfashionable: not just a

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Pompeii Live, from the British Museum

The hot exhibition ticket in London is the British Museum’s Pompeii show. For the rest of the summer, many dates have only late-evening tickets available. So the expanding reach of cinema experience of live events (previously confined to opera, dance and theatre) is very welcome. We open to hustle-bustle music,

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Tanya Harrod: The Last Sane Man

Michael Cardew, one of the great studio potters of the 20th century, was a man of doubleness. He was born into the heart of upper-middle-class establishment Edwardian England – a great-grandfather had been Lord Chancellor, a grandfather the Dean of Winchester, and he was related to soldiers, lawyers and diplomats

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Lindsay Seers: Nowhere Less Than Now

Good art shows us what we see; great art makes the invisible visible, illuminating what we otherwise fail to notice. The Tin Tabernacle in north-west London, temporarily housing the latest commission by the art charity Artangel, is an architectural example of the visibly invisible. Built in 1863, it is a

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