Sir Anthony Caro celebrated his 80th birthday last year, and this slightly belated but determinedly triumphal exhibition marks a half-century of remarkable and sustained achievement. Caro is phenomenally successful, an international figure almost as prominent as Henry Moore, and equally if not more important historically. For it was Caro who revolutionised sculpture in the early
In his introductory note to the programme of Opera North’s new production of Don Giovanni, Richard Farnes, who has recently taken over as the company’s music director, says ‘[there] will be many for whom this is their first Don Giovanni, indeed their first opera’. Obvious but wise words, which every director should have engraved above
The Guildhall Art Gallery has a well-defined policy of mounting temporary exhibitions of work by living artists, providing the subject matter is closely involved with the theme of London. David Tress, although born in the capital in 1955, has lived in Pembrokeshire, West Wales, since 1976, and has made a substantial reputation for himself as
It has been Einstein week on television — the 50th anniversary of his death, and the centenary of the theory of relativity. This has handed producers a problem as knotty in its way as proving that e=mc2. How on earth do you put the most important yet the most incomprehensible scientific thought of the past
Since 25 October, I’ve been appearing seven times a week on stage, so getting to see anything has been extremely difficult. My last night is 15 January, so I’ll be able to resume my full reviewing duties after that, but in the meantime I thought I’d bring you up to date on the only three
This is a brave and thoughtful exhibition, for it addresses the needs both of a multifaith city, Liverpool, and an exhibition programme reliant on the collection resources of Tate Britain and Tate Modern. Representatives of several religions were given open access to the Tates’ collections. Part of the selection process acknowledged the dominant Christian– Judaic
The first part of the title of the Whitechapel’s latest portmanteau show is taken from Ezra Pound’s masterpiece of compression, the two-line poem ‘In a Station of the Metro’ — ‘The apparition of these faces in the crowd;/ Petals on a wet, black bough.’ The poem is a triumph of Imagism, the short-lived movement (c.1910–17)
For many, the workhouse, particularly the Victorian variety, still conjures up in the popular imagination an image of dread and fear. I remember being taught about them at school and shuddering at the evocation of the Dickensian horror of these institutions. Everyone remembers the vivid experiences of Oliver Twist from either the novel or the
‘Why do you buy so many CDs?’ asked my girlfriend. It was not an unreasonable question, although obviously I wasn’t going to admit that. There are all sorts of reasons why you might buy too many CDs. You are bored of the ones you have. There are things you want. You are terrified you might
After seemingly endless drumrolls and fanfares, with the conductor Antonio Pappano and the director Keith Warner giving countless interviews on the radio and in the papers, the Royal Opera’s new cycle of Wagner’s Ring, incomparably the most ambitious thing an opera company can undertake, has finally got under way. And hardly surprisingly, a widespread sense
To get the year off to a good start is the eye-catchingly titled William Orpen — Politics, Sex & Death at the Imperial War Museum (27 January–2 May). Is this an exhibition or a manifesto? (From its title, difficult to tell.) Sir William Orpen (1878–1931) was a dazzling painter, rich and successful, Sargent’s heir as
A tragic love story lies behind the jovial title to this delightful exhibition, which unveils the David and Liza Brown Bequest, the largest ever received by Southampton City Art Gallery. In 1967, David Brown was one of Britain’s most distinguished veterinary surgeons, the world authority on the cattle disease rinderpest, and newly appointed federal director
The so-called festive season is the time of year all serious drinkers dread. Their favourite pubs are filled with amateurs, largely consisting of braying office parties. It takes for ever to get served at the bar, and there is the ever-present danger of being sicked over by some daffy young secretary who has been overdoing
By no means all commercial galleries run their Christmas exhibitions on into the New Year, but several that are doing so happen to be showing some of the most interesting work that has been around in months. However, if you are venturing out in search of artistic sustenance, do check gallery opening times to avoid
For 100 years, ballet has been represented by the image of a ballerina with a feathered headdress and an arm raised as a quivering wing. Then, in 1995, came Matthew Bourne’s Swan Lake, and ballet’s icon lost its long-held supremacy. The Swan Princess met her masculine match: a bare-torsoed, bare-footed, muscled Adonis in feathery trousers.
No time is right to announce job losses, but picking just before Christmas seems to be favoured by many companies. One can’t help wondering if there’s sound business sense behind it or if it can be attributed to the streak of sadism that runs through British life. When last week the BBC director-general, Mark Thompson,
As if to answer my recent complaints (Arts, 30 October) concerning the dumb deserts of Radio Three between the end of the early-evening concert and the wall-to-wall small-hour tapestry of Through the Night, two weeks in succession have provided high seriousness, requiring committed attention, yielding deep artistic rewards, reminiscent of the great old days (let’s
Collecting stained glass seems to have fallen somewhat from fashion. In the first half of the 20th century, acquisition was lively and prices soared as the Big Three — William Burrell, Pierpont Morgan and William Randolph Hearst — vied for possession of the best examples of this essentially Christian artform. (There is no stained glass
What does anyone readily recall of the Two Gents other than the servant Launce and his magnificent dog Crab? Maybe that’s all you need to remember, for it’s really only in Launce’s observations on Crab that the unmistakeable voice of Shakespeare surfaces from the dross of a comedy that may well have been his first.
…Over her paint and her colours bentCan paint what it is to be innocent.Life, add thy wisdom, and at length bring usWhere springs the fountain of her genius.Walter de la Mare A few years ago, a couple found a small but elegant drawing of a young girl playing with her pets hanging at an art