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Thatcher’s Artists

Peter Wollen, 30 October 1997

Sensation: Young British Artists from the Saatchi Collection 
by Norman Rosenthal.
Thames and Hudson, 222 pp., £29.95, September 1997, 0 500 23752 2
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... give a multiple-perspective view of the exhibition. In his own Introduction, the show’s curator, Norman Rosenthal, who is the Royal Academy’s ‘secretary’ in charge of exhibitions, places Sensation in a very broad art historical context, making ambitious claims for the importance of the work and explaining his choice of title. Next, Richard ...

At the Ashmolean

John-Paul Stonard: Joseph Beuys and Jörg Immendorff , 22 May 2014

... Joseph Beuys and Jörg Immendorff: Art Belongs to the People! (until 31 August) selected by Norman Rosenthal from the Hall Art Foundation in Vermont, shows how Immendorff remained in artistic dialogue with his former teacher throughout his life. For his students Beuys was a model of the total commitment, asceticism and seriousness required to be a ...

Hanging Offence

David Sylvester, 21 October 1993

... of American art of the 20th century, to co-curate the present exhibition with the old firm of Norman Rosenthal and Christos Joachimides. After three meetings – which were very enjoyable though they threatened squalls ahead – and some subsequent interchanges with Rosenthal, I realised that I had to resign rather ...

Italy’s New Art

David Sylvester, 30 March 1989

... pieces, which (like Tiepolo beggars) are suited by palatial spaces. However, the organisers, Norman Rosenthal and Germano Celant, have done something more daring with the space: they have filled it with art, much of it unfashionable, dating from 1919 to 1934, the time of the rise of Fascism. They have put sculptures by Arturo Martini and paintings ...


Nicholas Penny, 3 November 1983

Constable: The Painter and his Landscape 
by Michael Rosenthal.
Yale, 255 pp., £15.95, April 1983, 0 300 03014 2
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Constable’s England 
by Graham Reynolds.
Weidenfeld, 184 pp., £12.95, September 1983, 0 297 78359 9
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... expect to have to make some painful explanations, although the English language, thanks to our Norman conquerors, provides some protection: we now eat lamb, it is true, but formerly we ate mutton (not sheep) and we still eat pork (not pig), veal (not calf) and beef (not cow). There are few more interesting problems for the student of pastoral art than that ...

What’s It All About?

Tom Lubbock, 6 April 1995

Shark-Infested Waters: The Saatchi Collection of British Art in the Nineties 
by Sarah Kent.
Zwemmer, 270 pp., £19.95, November 1994, 0 302 00648 6
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The Reviews that Caused the Rumpus, and Other Pieces 
by Brian Sewell.
Bloomsbury, 365 pp., £12.99, November 1994, 0 7475 1872 6
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... the ‘pornography of despair’, art-internationalism, on Serota and Saatchi and Norman Rosenthal and the Turner Prize, on new hyped foreign painting (Schnabel and the Italian Transavantgardia), on the so-called ‘Neo-Geo’ movement from New York (being collected by Saatchi), on the British ‘new object’ sculptors (also collected by ...


Julian Symons, 9 November 1989

The Politics of Literary Reputation: The Making and Claiming of ‘St George’ Orwell 
by John Rodden.
Oxford, 478 pp., £22.50, October 1989, 0 19 503954 8
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... US, with the essays, novels and Homage to Catalonia carried along in their wake. The publisher Tom Rosenthal, totting up the royalties earned during six months by a backlist of Seeker foreign authors including Mishima, Moravia, Svevo, Gide, Colette, Kafka, Thomas Mann, Grass, Böll and half a dozen others, found that the whole lot added up to half Orwell’s ...

What are we telling the nation?

David Edgar: Thoughts about the BBC, 7 July 2005

Uncertain Vision: Birt, Dyke and the Reinvention of the BBC 
by Georgina Born.
Vintage, 352 pp., £10.99, August 2005, 0 09 942893 8
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Building Public Value: Renewing the BBC for a Digital World 
BBC, 135 pp.Show More
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... and ‘popular and enjoyable’ is belied by popular and enjoyable Golden Age comedies by Jack Rosenthal, Alan Plater, Potter and Bleasdale. In its various showings, Cathy Come Home was seen by 22 million people, not all of them watching because there was only one alternative. But a non-genre drama is inevitably a more demanding experience than a genre ...

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