To celebrate the year’s memorable plays, films, television, music, operas, dance, and exhibitions, we invited a number of arts professionals and critics to nominate their favourites.... (read more)
Never far from one’s mind these days, the events of September 11, 2001, and their direct aftermath in Afghanistan and elsewhere, had to be prominent in this month’s issue of ABR, such is their complex resonance and ubiquitous iconography. To complement Morag Fraser’s essay in this issue on the consequences of ‘September 11’ for civic ...
Five years ago, the J. Paul Getty Museum acquired Édouard Manet’s Jeanne (Spring), 1882, for US$61 million – a record for the artist. It was a bold acquisition, for later Manet – he died in 1883 – has never enjoyed the critical esteem of the earlier. Absurdly so, if you recall that the incomparable Bar at the Folies Bergère ...... (read more)
Patrick McCaughey reviews 'Man in the Glass House: Philip Johnson, architect of the modern century' by Mark Lamster
Philip Johnson – lagging well behind the founding fathers – may not be the most profound architect of the twentieth century. Nor does he have the resonance of Louis Kahn or the form-changing genius of Frank Gehry, among his contemporaries. Yet the pattern of twentieth-century architecture cannot be fully understood without him ...... (read more)
A shift in the European mind is taking hold. The stable democracies of Germany and the Netherlands contrast sharply with an unstable France and a demagogic Italy. The northern tier has an increasing authority, politically and culturally. Art historically, the Amsterdam–Berlin axis challenges the hegemony of the Paris–Rome accord ...... (read more)
Some time ago I appeared on a morning radio program with a prominent guru of Australian culture who roundly declared that Andy Warhol was ‘a one trick pony’. Neither remonstration nor persuasion could help the guru out of his imperturbable complacency. He had summed up Warhol in a sentence – what more need be said?... (read more)
Patrick McCaughey reviews 'Modernists and Mavericks: Bacon, Freud, Hockney and the London Painters' by Martin Gayford
The geography of art post 1945 has a boringly settled look and needs disturbing. This engaging and readable book makes a useful starting point. The standard view begins with the switch of the centre from Paris to New York, and so it remained for the next fifty years or so until ...... (read more)
Patrick McCaughey reviews 'Reason and Lovelessness: Essays, encounters, reviews 1980–2017' by Barry Hill
Barry Hill’s collection of essays from the last four decades is commanding and impressive. Few could match his range of subjects: from Tagore to John Berger, Lucian Freud to Christina Stead – all, for the most part, carried off with aplomb. He catches the ‘raw’ edge of Freud’s studio – ‘worksite’ as Hill calls it ...... (read more)
Elizabeth Hardwick is, unfairly, better known outside of New York as Robert Lowell’s second wife, who heroically endured twenty-three years of tumultuous and tortuous marriage. She inspired his finest love poetry ...... (read more)
Kenneth Clark had a life like no other art historian or critic, gallery director, arts administrator, patron, collector, or presenter on television. Whatever he touched, he left a sheen of brilliance. He was handsome, charming, and debonair. And he was rich, spending his last three decades as the lord of Saltwood Castle. His father, the raffish and boozy Kenneth McK ...