abstraction
How Philip Guston became a hero to a new generation of figurative painters
Why do painters represent things? There was a time when the answers seemed obvious. Art glorified power, earthly and divine,…
Birmingham barbershop meets the Folies-Bergère: Hurvin Anderson’s Salon Paintings, at the Hepworth Wakefield, reviewed
There’s a nice irony to the title Salon Paintings when the salon in question is a barbershop, an irony that…
As cool and refreshing as a selection of sorbets: RA's Milton Avery show reviewed
‘I like the way he puts on paint,’ Milton Avery said about Matisse in 1953, but that was as much…
Ethereal and allusive, all nuance and no schmaltz: Helen Frankenthaler, at Dulwich Gallery, reviewed
In 1950 the 21-year-old painter Helen Frankenthaler, fresh out of college, went to an exhibition at New York’s Betty Parson’s…
How to succeed in sculpture (without being a man)
Whee-ooh-whee ya-ya-yang skrittle-skrittle skreeeek… Is it a space pod bearing aliens from Mars? No, it’s a podcast featuring aliens from…
The rare gifts of Peter Doig
‘My basic intention,’ the late Patrick Caulfield once told me, ‘is to create some attractive place to be, maybe even…
Virtuosic exploration of paint: Frank Bowling at Tate Britain reviewed
‘The possibilities of paint,’ Frank Bowling has observed, ‘are endless.’ The superb career retrospective of his work at Tate Britain…
Moore’s art has never looked better: Henry Moore at Houghton Hall reviewed
Henry Moore was, it seems, one of the most notable fresh-air fiends in art history. Not only did he prefer…
Appealingly meaningless and improbable: Christo at the Serpentine Lake reviewed Plus: memorably pointless paintings at the Serpentine Sackler Gallery
It’s not a wrap. This is the first thing to note about the huge trapezoid thing that has appeared, apparently…
What lies beneath
Last year, Gary Hume made a painting of himself paddling. At a casual glance, or even a longer look, it…
Maximum wattage
On his deathbed in 1904, George Frederic Watts saw a extraordinary spectacle. He witnessed the universe coming into being: the…
The shimmering, restless, groovy fabrics of John Piper
A story John Piper liked to tell — and the one most told about him — is of a morning…
Is this female Swedish painter a major rediscovery - or a minor footnote?
In 1896, a group of five young Swedish women artists began to meet regularly in order to access mystical zones…
The link between herbaceous borders and the avant-garde
Philip Larkin once remarked that Art Tatum, a jazz musician given to ornate, multi-noted flourishes on the keyboard, reminded him…
Repetitive but compelling: Giacometti at the National Portrait Gallery reviewed
One day in 1938 Alberto Giacometti saw a marvellous sight on his bedroom ceiling. It was ‘a thread like a…
On the frontiers of figuration, abstraction and total immateriality
The artist, according to Walter Sickert, ‘is he who can take a piece of flint and wring out of it…
Royal Academy’s Summer Exhibition reviewed: a jumble sale with pizzazz
The Royal Academy Summer Exhibition has very little in common with the Venice Biennale. However they do share one characteristic.…
Modernism lite? Modigliani at the Estorick Collection reviewed
The British painter Nina Hamnett recalled that Modigliani had a very large, very untidy studio. Dangling from the end of…
