Virginia Woolf: Thinking Back Through Our Mothers at the Tate
“If life has a base that it stands upon, if it is a bowl that one fills and fills and fills – then my…
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Abrasion and Collision: On History’s Steps with Robert Rauschenberg, at the Tate
Three quarters of a lifetime ago, in the early spring of 1964, I saw an exhibition at the Whitechapel Art Gallery. Who exactly was…
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Wifredo Lam: The Albissola Years
It was his spirit of collaboration and friendship that first brought my father to the Italian coastal town of Albissola, just west of Genoa….
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“Out There in the Many Miles of Bad Lands”: Georgia O’Keeffe in Her Own Words
“It takes a kind of nerve … and a lot of hard, hard work.” So said Georgia O’Keeffe at the age of 90 when…
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Eeriness: Tracing an Unquiet Tradition in British Landscape Art
In 1971 Derek Jarman made a 10-minute film called Journey To Avebury, documenting a summer walk through the chalklands of southern England. At first…
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The Art of Protest
The relationship between art and protest has never been a stable one. It’s also a relation that perhaps suffers from being posed in the…
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Private View: Luc Tuymans on Henry Raeburn
I first saw Henry Raeburn’s work when I was 16 years old at the Museum of Fine Arts in Ghent. It was a portrait…
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What is the Museum of the Future?
We know that museums the world over are incredibly popular, but how do we keep the visitors coming? In a globalized art economy, the question…
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Inside My Head: An Interview with Glenn Ligon
American artist Glenn Ligón is bringing together artworks spanning decades, continents, and themes that closely relate to his work with race and gender in post-war America….
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Perfect Bedfellows: Tracey Emin on Francis Bacon
One of Tracey Emin ’s best known and most controversial works, My Bed, first made in 1998, and once in private hands, is now on…
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