5:32pm
In February 2007 Apollo published a list of the 25 most important works in private hands in the UK, works that deserved to be acquired for the nation if at all possible. Yesterday’s announcement that the Duke of Sutherland has offered to sell to the nation two of those works, Titian’s Diana and Actaeon and Diana and Callisto, has been received with due acknowledgment that the offer price, of £50m per picture, is notably generous. Moreover, the Duke has offered the National Galleries in London and Edinburgh the opportunity to pay for the two paintings in instalments over six years....
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Wednesday, 27th August 2008
11:13am
The curious thing about the paintings of Danish artist Vilhelm Hammershoi (1864-1916) is that within moments of seeing them you are casting around to find words that define their mysterious, omnipresent mood. Barren, still interiors of the artist’s flat in Copenhagen, where he lived with his wife Ida, show large empty spaces dominated by open or shut doors, little or no furniture, and given life only through shafts of light or the gleam of a surface. Just occasionally, a female figure features in the composition, her back turned, motionless, arrested by some silent, lone distraction. They are at once oppressive...
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Thursday, 7th August 2008
12:14pm
At last justice has been done to the Johnson family, the most audacious and determined gang of thieves to plague England for many years. It seems extraordinary that this one family, based in a caravan park in Gloucestershire, could over 20 years amass something like £80m before they were finally jailed yesterday – most with sentences of 11 years each. Much of their work was run-of-the-mill but nonetheless profitable smash-and-grab raids at offices and banks, but the case got huge press coverage because of their fondness for stealing art from country houses, in raids carried out with maximum violence –...
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1:47pm
I first saw Oscar Munoz’s Project for a Memorial (2005) in the Robert Storr-curated Venice Biennial in 2007. Projected across five alternating screens, Oscar Munoz’s
hand hurriedly paints water portraits on a hot pavement. Almost as soon as they are created, each face has already started to evaporate.
The installation stood out at the Arsenale amongst the pseudo-political screamers for being simple and unassuming, and the most effective. Both the subtlety of the piece, and the evident dexterity of Oscar Munoz’s lone hand moving in isolation across the screens provokes an unexpected commitment to this video art (unusual, I...
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A recent exhibition in Nottingham showcases contemporary artists' exploration of the Communist-era space race.
Cast aside by Modernists for much of the 20th century, Classicism
has a comeback of sorts, with an excellent new book reappraising
architecture partnerships and a recent exhibition at one of the very
institutions that so derided the style.
