At the RA: Anselm Kiefer

John-Paul Stonard, 6 November 2014

A nselm Kiefer​ first came to public attention in London in A New Spirit in Painting, the exhibition held in 1981 at the Royal Academy. It’s fitting, then, that this should be the venue...

Read more about At the RA: Anselm Kiefer

At Tate Modern: Richard Tuttle

Anne Wagner, 6 November 2014

I t’s easy​ to see why Richard Tuttle’s work has a tendency to rile people – in particular people who insist on believing that sculpture, even if it no longer needs to be...

Read more about At Tate Modern: Richard Tuttle

Le Journal and Le Club: Mediapart

Tariq Ali, 23 October 2014

W alking​ from the Bastille to the rue Saint-Antoine in Paris a few weeks ago, I was thinking how swiftly the last few decades have taken their revenge on the past. The spectacle that...

Read more about Le Journal and Le Club: Mediapart

At the V&A: Constable

Rosemary Hill, 23 October 2014

C onstable​ , as the V&A’s press release puts it, is ‘Britain’s best-loved artist’, and that in a way is the problem. (Constable: The Making of a Master is at the...

Read more about At the V&A: Constable

At the Movies: ‘Gone Girl’

Michael Wood, 23 October 2014

Warning: Even more spoilers than usual. ‘O ne can feel​ that there is always a camera left out of the picture,’ Stanley Cavell wrote in The World Viewed, ‘the one working...

Read more about At the Movies: ‘Gone Girl’

At the V&A 2: Wedding Dresses, 1775-2014

Rosemary Hill, 9 October 2014

O f all​ the 19th-century innovations disparaged by Eric Hobsbawm as ‘invented traditions’, the white wedding must rank alongside clan tartans as the most enduring, a convention now...

Read more about At the V&A 2: Wedding Dresses, 1775-2014

The Girl Who Waltzes: George Balanchine

Laura Jacobs, 9 October 2014

I n 1973​ , when George Balanchine was asked by his biographer Bernard Taper to appraise the previous decade of his life, he replied: ‘It’s all in the programmes.’ He meant...

Read more about The Girl Who Waltzes: George Balanchine

At the V&A 1: Disobedient Objects

Nick Richardson, 9 October 2014

T o make​ a DIY tear-gas mask first cut the bottom off a large plastic bottle. Then turn it upside down and cut away a tall U-shaped area big enough to put your face into. Get a dust mask, soak...

Read more about At the V&A 1: Disobedient Objects

Shapeshifter: Elvis looks for meaning

Ian Penman, 25 September 2014

In the spring of 1965, on the road between Memphis and Hollywood, desert plains all around, his bloodstream torqued by a tinnital static of prescription ups and downs, Elvis Presley finally broke down.

Read more about Shapeshifter: Elvis looks for meaning

At the Movies: ‘A Most Wanted Man’

Michael Wood, 25 September 2014

A t​ the centre of a wide shot, near the centre of the film, stands Philip Seymour Hoffman: scruffy, genial, large, mildly enigmatic. He is in a city park, trees all around him, leaves beneath...

Read more about At the Movies: ‘A Most Wanted Man’

In Cardiff: Richard Wilson

John Barrell, 25 September 2014

It is as if the wildly inflated claim that Richard Wilson ‘transformed’ European landscape painting can only be given even a touch of credibility by passing him off as a Londoner, or at least...

Read more about In Cardiff: Richard Wilson

At the NPG: ‘Virginia Woolf’

Jean McNicol, 11 September 2014

O n​ 16 October​ 1940 the house in Tavistock Square in which Virginia Woolf had lived for 15 years was destroyed by a bomb. The first image in the National Portrait Gallery’s exhibition...

Read more about At the NPG: ‘Virginia Woolf’

London’s population is near its peak, its skyline mangled by ‘the erection of tall buildings, especially if they are of eccentric or self-promoting “iconic” design’.

Read more about Serried Yuppiedromes: What happened to London?

At Tate Modern: Kazimir Malevich

Tony Wood, 21 August 2014

H ow​ many Maleviches were there? Though renowned as a pioneer of abstraction, especially for the stark geometry of his Suprematist canvases, Kazimir Malevich worked in many styles over the...

Read more about At Tate Modern: Kazimir Malevich

The secret beating heart of the dream office is the stationery cupboard, the ideal kind, the one that opens to enough depth to allow you to walk in and close the door behind you.

Read more about Post-its, push pins, pencils: In the Stationery Cupboard

At the Whitney: Jeff Koons

Hal Foster, 31 July 2014

M odern art​ was born into a market economy, and by the early 20th century it could no longer ignore its commodity status. While some artists sought to escape this condition through...

Read more about At the Whitney: Jeff Koons

Young Man’s Nostalgia: William Byrd

Diarmaid MacCulloch, 31 July 2014

W e know​ a gratifying amount about William Byrd, partly thanks to quite recent archival rediscoveries, and Kerry McCarthy splendidly and concisely presents it all in this intelligent and...

Read more about Young Man’s Nostalgia: William Byrd

By the time he was elected to the Académie française in 2004, Alain Robbe-Grillet had suffered a cruel fate: he had all the renown he could have hoped for but few readers to show for it.

Read more about At the Crime Scene: Robbe-Grillet’s Bad Thoughts