At Victoria Miro

Peter Campbell: William Eggleston, 25 February 2010

... unhappy. The unexplained strangeness of the ordinary or tacky that has drawn film-makers like David Lynch to Eggleston is evident, but the colour also registers at a different level. As in Van Gogh’s late paintings it has a life of its own. Purely as coloured objects, the photographs are rich, subtle, pretty even. The process used to print them in the ...

At the Imperial War Museum

Gaby Wood: Lee Miller, 17 December 2015

... never wore the same outfit for more than a few hours. She was also a hypochondriac. Her colleague David Scherman (who took the famous picture of Miller in Hitler’s bathtub) later remembered that ‘you named a disease and Lee would imagine she had it in no time at all.’ Regina Lisso, Town Hall, Leipzig (1945) by Lee Miller. Lee Miller ...

At Tate Modern

Brian Dillon: Klein/Moriyama, 22 November 2012

... work, where he was the graphic equal of Irving Penn and a far stranger photographer than, say, David Bailey or Richard Avedon. But then he has long been ambivalent about his fashion photography; already in 1966 he had skewered that milieu with Who Are You, Polly Maggoo?, the first in a series of satirical films that would take up much of his next ...

At the White Cube

Peter Campbell: Anselm Kiefer, 22 February 2007

... impulse is chilled have tended to be a Northern, and particularly a German speciality. Caspar David Friedrich’s mountains and deserted seashores are melancholy accounts of man’s place in nature. Emil Nolde’s seas and sunsets have no place for man at all. It is the way Kiefer’s work seems to refer to how things are, without spelling out precisely ...

From the National Gallery to the Royal Academy

Peter Campbell: The Divisionists and Vilhelm Hammershoi, 17 July 2008

... who looks back to Vermeer (he made his own version of a Vermeer letter-reader) and to Caspar David Friedrich’s woman at a window, painted in subdued greys, blacks, browns that owe something to Whistler. Gwen John, who was taught by Whistler, put on paint in calculated patches; the chalkiness of her paint and the thinness of Hammershøi’s match the ...

Golf Grips and Swastikas

William Feaver: Francis Bacon’s Litter, 26 February 2009

Francis Bacon: Incunabula 
edited by Martin Harrison and Rebecca Daniels.
Thames and Hudson, 224 pp., £39.95, September 2008, 978 0 500 09344 3
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... he chose to disparage, not least the work of former friends and rival contemporaries. When David Sylvester once asked what precisely was so deplorable about it (a ‘kind of caution’ perhaps?), Bacon’s response was studiedly offhand. ‘Well,’ he drawled, clearing his throat. ‘Well . . . Illustration surely means just illustrating the image ...

At the National Gallery

Peter Campbell: Renaissance Faces, 6 November 2008

... death), the seriousness and the sitter’s sober prosperity do not. When modern caricaturists like David Levine put pulled-about faces on small bodies their drawings project a more distinct personality than is found in their source material – usually paintings and photographs. The characterless little heads and drawn-out bodies of fashion plates do the ...

At the Movies

Michael Wood: ‘Inglourious Basterds’, 10 September 2009

Inglourious Basterds 
directed by Quentin Tarantino.
August 2009
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... you have actually seen: Sergio Leone’s Once upon a Time in the Resistance, for instance, or David Lean’s Bridge on the River Seine, or Jean-Pierre Melville’s Shadows of the Army. The film opens with a homage to Leone, Morricone-style music (by Morricone, as it happens) on the soundtrack, and the words ‘Once upon a Time in Nazi-Occupied ...

Short Cuts

Andrew O’Hagan: Ulysses v. O.J. Simpson, 28 July 2016

... Kardashian (you knew it was only a matter of time before the Kardashians came into it), played by David Schwimmer in the TV series, was perfectly certain in life of his friend’s innocence, yet, in TV-land, certainty is just a crease to be ironed out by the ‘journey’. In the first episode, we see Kardashian talking to his shy young children at the ...

At the Movies

Michael Wood: ‘Mank’, 21 January 2021

... the award in absentia, the absence of the other being the chief pleasure for each. This is where David Fincher’s new film, Mank, briefly in American cinemas last November and now available on Netflix, discreetly ends.The film was written by Fincher’s father, Jack, who died in 2003. Fincher had been planning to make it right after The Game (1997), one of ...

At the Movies

Michael Wood: ‘Killers of the Flower Moon’, 16 November 2023

... the blame for everyone else. Unless of course it is the moon that is being killed. This is what David Grann, in the book on which the film is based, says about an old Western tradition:In April, millions of tiny flowers spread over the blackjack hills and vast prairies in the Osage territory of Oklahoma … In May, when coyotes howl beneath an unnervingly ...

At the Museum Ludwig

Brian Dillon: Roni Horn’s Conceptualism, 1 August 2024

... on the other, it’s a picture of sublime, if slow, elevation, calling to mind Sisyphus, Caspar David Friedrich, Evel Knievel.Some of the allure of Horn’s sculptures resides in the way luxurious and disorienting materials contend with the work’s levels of reference and invocation. Gold Field, a sheet of gold foil laid on the floor, is inspired by the ...

At the Movies

Michael Wood: ‘I’m Still Here’, 6 March 2025

... rock stars. The memoir the movie is based on, which has the same title, carries an epigraph from David Bowie: ‘Planet Earth is blue and there’s nothing I can do.’Well, perhaps this is not so comforting. A title card has told us the year – 1971 – and if we remember that a military dictatorship had been in power in the country since 1964, aided by ...

At Tate Britain

Peter Campbell: Hamish Fulton, 9 May 2002

... from, and in a sense complementary to, American Sublime, another celebration of wilderness, which David Craig wrote about in the last issue of the LRB.Fulton has made many walks of many kinds in many places over the last thirty years. But because a walk must exist in the present, and take place elsewhere, all he has to offer in the gallery are wall ...

At the Royal Academy

Craig Clunas: Art of the Emperors, 1 December 2005

... portraits of rulers which were the stock-in-trade of court artists in Europe from Velásquez to David. As the near pristine condition of many of them implies, portraits of the Qing imperial court were not designed for permanent hanging (they are watercolours).At what events were they originally viewed, and by whom? The imperial image was not disseminated to ...