In Hereford

Mary Wellesley: The Mappa Mundi, 21 April 2022

... bonnacon is shown expelling faeces, a feat which, the inscription notes, it commonly performs in self-defence.The map’s humanoid creatures are some of its most compelling. There are dog-headed men (seemingly engaged in conversation) as well as a ‘monocule’ or Sciapod: a man with only one foot, extended into the air. He cuts a lonely figure, as does the ...

An Amazing Week in New Zealand

Bill Manhire, 2 December 1993

... crazy parties, leopardskin pants and a pony-tail. But now her parents are puzzled. Where is their self-centred daughter? She hasn’t gone to town. Come on. You come down. * The publican wants God as a partner, the businessman, the wife, oh the girl with scars on her wrists taking her baby to God the shiftless drunk no one trusts who lives in a packing shed ...

At the MK

Brian Dillon: Daria Martin, 9 February 2012

... meditation on artistic susceptibilities. Martin has in part reconstructed a clinical scene: a self-declared mirror-touch synaesthete (here played by the Romanian actress Anamaria Marinca) is asked to watch objects and bodies gently slapped or palpated, and is quizzed on whether or where she feels anything in response. The result is a work that doesn’t ...

At the Hayward

Rosemary Hill: David Shrigley, 23 February 2012

... general human and animal condition. This is less true of the other work in the show, in which the self-deprecating humour extends to the teasing deprecation of some of his fellow artists and indeed the viewer. One of the ways in which Shrigley offends against the tenets of much contemporary art practice is that he admits to presenting a persona in his ...

At the British Museum

Rosemary Hill: ‘Ian Hislop’s Search for Dissent’, 11 October 2018

... drew attention to it on his website and it was removed, has been borrowed back. There is something self-congratulatory in this demonstration that the museum can take a joke, like a headmaster at the end of term indulging high spirits as long as they don’t go too far. Now, when the age of Dissent has become the age of Taking Offence, there are limits. The ...

At Tate Modern

Peter Campbell: Like a badly iced cake, 5 May 2005

... a milestone in the history of reportage came to nothing. He also made a series of photographic self-portraits which he hoped to publish as a companion to his fourth volume of autobiography. Some of these survive: images of the writer at his desk, with his children, playing the guitar. (They have captions like ‘Come on you old hack, let’s fight,’ and ...

At Kew

Peter Campbell: The New Alpine House, 21 April 2005

... like architecture for architecture’s sake. But they have practical justifications: this isn’t self-indulgence. For example, the height, which seems disproportionate to the floor area, provides the large enclosed volume necessary for the proper control of air temperature: small greenhouses overheat very quickly. One problem with the 1981 building, apart ...

The Unholy One?

Tom Paulin, 11 December 1997

... more like Creon – wrote that is for what Hegel calls the daylight gods – the gods of free self-conscious social – social and political – life the gods if you like of middle-class conversation its Fabian certainties its brisk of course that’s often slightly off course like the old Belfast story – that over-troped sea-chestnut of the liner and ...

At the Saatchi Gallery

Peter Campbell: London’s new art gallery, 8 May 2003

... registered quickly by the eye can be long in the making. Mueck’s pieces, Dead Dad and his giant self-portrait mask at the Saatchi, as well as the smaller, but still huge pregnant woman, the under life-size Mother and Child (with umbilically attached baby), the little man in a big rowing-boat and the life-size swaddled baby in a real blanket, all now to be ...

At the Guggenheim

Hal Foster: Pop Surrealism, 18 December 2003

... consumers at home. He also wrote ‘Vanity’, and the painting does suggest not only a murderous self-absorption but a collective vanitas, a reminder of death – literal abroad, moral Stateside. It is enough to remind you of the ...

At the Saatchi Gallery

Peter Campbell: The Triumph of Painting, 17 February 2005

... a company which specialised in painting cinema posters to produce pictures including a number of self-portraits and ‘completely clichéd images culled from existing sources (including a hardcore pornographic picture of a couple mutually masturbating)’. That picture is in the exhibition. Only in Peter Doig’s dreamlike pictures of canoes on lakes, snow ...

Short Cuts

Thomas Jones: Alastair Campbell, Good Bloke, 18 March 2004

... Howard, racist football fans, the Mail) and several preening anecdotes, dressed up as self-deprecation. He once went to the help of a man who’d been mugged on Hampstead Heath. When the man realised who the good bloke who’d saved him was, he said: ‘You’re Alastair Campbell? I fucking hate you.’ In Waco, Texas, Campbell met in the hotel ...

At Tate Modern

Peter Campbell: Bruce Nauman’s Raw Materials, 4 November 2004

... I did sit long enough among the jumpy pixellated images to feel, for a while, that there was a self-denying lesson implied – something along the lines that all art is a distraction from proper ...

Short Cuts

Andrew O’Hagan: Malingering trolley dollies, 8 February 2007

... really the issue, is it? The issue is that the belief has gone – the sense of freedom, and of self-transportation – but at least cabin crews make less fuss about the information on the safety card, to say nothing of the helpful whistle that one can blow to attract ...

Short Cuts

J. Hoberman: The CIA’s Animal Farm, 5 July 2007

... Secret Agent (1974) for initiating the project, shortly after Orwell’s death in 1950. The self-aggrandising Hunt may have exaggerated his own importance in the operation – possibly inventing the juicy detail that Orwell’s widow, Sonia, was wooed with the promise of meeting her favourite star, Clark Gable – but, as detailed by Daniel Leab in ...