SOUTHAMPTON, UK — The British artist Tom Dale works at a time when speed has lost its innocence.
BRIGHTON, UK — Attempting an interview with Chicks on Speed is a logistical challenge, as members of the art and music collective are dispersed around the world.
LONDON — Regarding the use of photographs in painting, it’s no shortcut, at least not in the work of Ben Johnson.
LONDON — If you like bacon and don’t have a menial job, here’s the show to make you feel bad.
LONDON — Eighteen short months ago, Charles Thomson, the world’s most vocal champion of figurative painting, nearly hung up his brush. After some 30 years painting thick black lines and flat planes of color (“I called it Cloisonism, which was a 19th century practice which Van Gogh was involved with for a time”) the artist considered himself stuck. But this was only what the art world elite had always said about him.
LONDON — For those not already aware of its existence, Middle England is, in its way, as mythical as Middle Earth. But copies of the Daily Mail outnumber the elvish runes.
BIRMINGHAM, UK — Britain’s second city is arguably its most ethnically diverse. In a recent search for Birmingham’s most archetypal family, led by Turner-Prize winner Gillian Wearing, the winners were two mixed-race, single parent sisters.
LONDON — In a 21st-century take on the artist and his model, Frances Stark has performed a gender swap and had her wicked way with up to ten male muses.
BRIGHTON, UK — If the thought of a white artist from Britain making work about race in Haiti causes your hackles to rise, please bear with us. What Leah Gordon has to say about history concerns us all.
NOTTINGHAM, UK — A cultural mission to enlighten and educate the public is, it might be said, as British as the BBC. This mindset has been called Reithian, after Lord Reith, first general manager of the broadcasting organisation. For a good example of Reithianism, look no further than the 13-part documentary Civilisation, presented on the BBC in 1969 by art historian Kenneth Clark.
BEXHILL-ON-SEA, England — Liveness is a difficult quality to prescribe in a work of art. But to borrow a phrase from an obscenity trial, you will know it when you see it. This is especially true when the medium is painting. It is alive, yes, but it is not always so vital as in the current show, I Cheer a Dead Man’s Sweetheart, at De La Warr Pavilion.
LONDON — The fact he gives each work a number is the first thing anyone learns about Martin Creed. His website lists “Work No. 3” up to “Work No. 1674” and counting. Pointing out the UK artist likes seriality is like pointing out that Pollock liked drips or that Duchamp liked plumbing or even the fact that Michelangelo could paint upside down.