At the Royal Academy

Daniel Soar: Hockney, 9 February 2012

“... The vast David Hockney show at the Royal Academy (until 9 April) is deliberately overwhelming. What it most looks like is an overblown, hyped-up, hyperreal parody of the Royal Academy Summer Exhibition, that super-English annual gathering of the amateur art establishment, to which the buying public with large pocketbooks flock from the Home Counties and beyond ...”

At Tate Britain

Brian Dillon: Patrick Keiller, 7 June 2012

“... another combine harvester, labouring up and down another field, diagonally, this time accompanied by a blue tractor. This pairing of views in Patrick Keiller’s 2010 film Robinson in Ruins – glimpsed again as part of his current installation at Tate Britain (on display until 14 October) – is almost too typical to ...”

At Tate Modern

Brian Dillon: Klein/Moriyama, 22 November 2012

“... on Fifth Avenue in 1955 finds a lens in her face. People are not yet afraid of being photographed by strangers in the street; still, she leans away to her right, averts her gaze from the man’s impertinent Leica. Or so it seems: it’s hard to tell where she’s looking – she’s quite a blur, and her big dark eyes are further shadowed ...”

At Tate Britain

James Cahill: Frank Bowling, 15 August 2019

“... made a Royal Academician in 2005 but he has remained a quiet man of British art in comparison with David Hockney or R.B. Kitaj, his contemporaries at the Royal College of Art in the early 1960s. ‘Swan i’ (1964) The exhibition shows how decisively he transcends the well-worn term ‘postwar British artist’: Bowling is diasporic, resisting easy ...”

At the Royal Academy

Craig Clunas: Art of the Emperors, 1 December 2005

“... or swanky golfing parties in Shanghai hotels. It was the title of a dance festival, compered by People’s Liberation Army choreographers, ‘offered’ to the Communist Party in celebration of its 80th anniversary in 2001. It would be too easy to see this exhibition, which has obtained from the Palace Museum in ...”

Iran and the UN

Norman Dombey: Iran and the UN, 23 February 2006

“... uranium fuel for those reactors will initially come from Russia, but Iran says it wishes to be self-reliant for its supply of fuel. Since 1985, Iran has been developing its own enrichment capability, importing centrifuge designs and components from Pakistan. Uranium centrifuges have a dual purpose: they can produce low-enriched (2 to 3 per cent) uranium ...”

Yugoslavia’s Past

Robert Kee, 5 June 1980

Moscow Diary 
byVeljko Micunovic, translated byDavid Floyd.
Chatto, 474 pp., £12.95, April 1980, 0 7011 2469 5
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“... reason Tito lived so long in his last illness was that no one in the Presidential Council dared be the first to suggest that the various life-supporting machines should be switched off. Maybe in the end someone dared. Or maybe Tito, whose body in life had done so much to reconcile the politically irreconcilable in ...”

Counting signatures

Christopher Hill, 22 January 1981

Literacy and the Social Order: Reading and Writing in Tudor and Stuart England 
byDavid Cressy.
Cambridge, 246 pp., £12.50, October 1980, 0 521 22514 0
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“... about 90 per cent of women, were illiterate. Proportions varied from region to region. In London by the end of the 17th century illiteracy may have been down to two-thirds or a quarter; for women about a half. There were fluctuations over time: a rapid growth in literacy immediately after the Henrician Reformation and again in the early years of ...”

At the Movies

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

“... Herszage), out on the town with her friends, is stopped, frisked and almost arrested by the police. Still, the film hangs on to its jollity for quite a while. We leave the beach – the Paiva family lives just across the road – to continue partying in a house. And then other houses. It’s all samba and bossa nova and the memories of rock ...”

Big Books

Penelope Fitzgerald, 15 September 1988

William Morris: An Approach to the Poetry 
byJ.M.S. Tompkins.
Cecil Woolf, 368 pp., £20, May 1988, 0 900821 84 1
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“... a maker’s pains, it dawned upon me that we must have heard the Saga of Burnt Njal ... Pressed by the need to pass the story between his teeth and clarity it, he had used us. Morris’s open-heartedness, his shyness, his reckless treatment of the furniture, his concentration on whatever he had in hand as though the universe contained no other possible ...”

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 White Cube

Peter Campbell: Anselm Kiefer, 22 February 2007

“... profound but not fully explained. The religious feel of things at White Cube is intensified by the character of the gallery building: a simple prism of white and grey which stands in the middle of a cobbled yard, as many small churches and chapels do in close-built towns and cities. It has the severity and simplicity of rooms specially designed for ...”

At Tate Modern

Peter Campbell: The fairground at Bankside, 22 June 2006

“... of art is on the whole a private matter and chattering crocodiles of schoolchildren need not be a serious barrier to contemplation. In fact, much is gained from the fairground tilt the mix of the committed and the casual gives the atmosphere of the place. It has, in particular, contributed to the great success of installations in the Turbine Hall, which ...”

At the Movies

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

“... as it does in Scorsese’s The Irishman (2019). Though the obvious does occasionally have to be explained. As Michael Corleone says in The Godfather Part II, ‘if history has taught us anything, it is that you can kill anyone.’ It’s an accident, of course, that another Corleone is played by Robert De Niro, the ...”

At the Museum Ludwig

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

“... Death, Roni Horn’s retrospective at Museum Ludwig in Cologne (until 11 August), you’re flanked by 96 photographs of her niece Georgia. The two grids of 48 seem to match until you’ve swivelled back and forth a few times and started noting certain fine disparities. Georgia’s grin slips, her head tilts, she peers at us through different holes in the slice ...”