In the wake of the North African revolutions the lurid stories of pop royalty dancing for the pleasure of petro-tyrants for big money got me thinking: since when have artists ever done just the opposite and refused to sell out, opting to stick it to the man instead? There are plenty of examples of great […]Read More Sticking it to The Man
The biggest enterprise of public arts cuts in modern times occured during the 90s and 00s in the former Eastern Bloc as the last granite, steel and concrete vestiges of the communist regimes were torn down. These sometimes enormous statues were demolished, often in the middle of the night, between mobs of people supporting or […]Read More Monuments to Nothing in Particular
I was looking forward to seeing Damien Hirst’s spot paintings the other weekend, I visited the Gagosian Gallery expecting the profusion of spot paintings to be overwhelming, giddy even. In reality it had a dulling effect on me. These icons of the 90s, with their clean, simple, relentlessly flat surfaces just look bland in one […]Read More Colour Me Bland
Come Together is a record most British fans of the indie genre would know well as a track that straddles the boundaries of indie rock and acid house music. It’s a remix of a gospel-inspired Primal Scream track that appeared on their critically acclaimed ‘Screamadelica’ album of 1991, a collaboration between the band and house […]Read More We Know that Music is Music?
What would a difficult painting look like? You could paint violent or sexual scenes, you could paint grotesque ugliness. But primary colours? Be afraid. Primary colours just don’t work together. They are by definition at opposite ends of the colour wheel, they’ll never get on. Even Rodchenko’s red, yellow and blue monochromes, an astonishing piece […]Read More Colour Me Bad
I caught the last performance of Castor & Pollux at the London Coliseum and was taken aback as I took my seat. Right there before you as the Overture played out was an enormous box, which turned out to be an amazing feat of conceptual staging. All the action takes place inside this huge wooden […]Read More Castor & Pollux: the old in the new
Marina Abramović’s gala for the Museum of Contemporary Art in LA sparked a debate when choreographer Yvonne Rainer lambasted what she described as an ‘exploitative’ and ‘grotesque’ spectacle. Sara Wookey, a dancer who auditioned for the gala but pulled out, wrote an open letter to artists. The letter is shocking, an incitement of Abramović and MOCA who had made […]Read More Artists Exploiting Artists