Art

Can you tell which of these artworks was created by a computer?

Take a look at the four paintings on this page. If you are acquainted with modern art, you will probably assume, at a quick glance, that it shows four works by the Russian artist Wassily Kandinsky (1866-1944). However, whatever your knowledge of modern art, I suggest you look again, because not all of these works are by that great pioneer of abstract painting. More than one of them is an original image created by a computer model, which was asked to do a digital artwork in the style of Kandinsky. Which are the fakes? I’ll give you the answer at the end of the article. Before we get there, you need to know how a computer can make such startlingly echoic images, and what it might mean for art.

It’s a miracle this exhibition even exists: Audubon’s Birds of America reviewed

In 2014, an exhibition of watercolours by the renowned avian artist, John James Audubon, opened in New York. The reviews, from the New York Times to the Guardian, were unambiguously enthusiastic, celebrating the painter as a legendary genius who ‘exceeded the limits of his era’. Fast forward eight years, and a rather different vibe hangs over the latest outing of his bird portraits, one that reflects both the limits of that era and the limits of the man. Visitors to the National Museum of Scotland’s Audubon’s Birds of America are welcomed with an acknowledgment that the artist was ‘full of contradiction and controversy’. His charge sheet is substantial.

You’d never guess from her art how passionate Gwen John was

‘Dearest Gwen,’ writes Celia Paul, born 1959, to Gwen John, died 1939, ‘I know this letter to you is an artifice. I know you are dead and that I’m alive... But I do feel mysteriously connected to you.’ And well she might, because the parallels between the lives of the two painters are legion. To take the most obvious: both were students at the Slade, both had relationships with much older artists and both came to be seen, for a time at least, through the prism of their association with men. Gwen John was the older sister of the once more famous Augustus and model and lover of the French sculptor Auguste Rodin; Celia Paul, the lover, model and mother of a son of the painter Lucian Freud.

The Tate’s grubby cancellation of Rex Whistler

Tate Britain’s Rex Whistler restaurant will never reopen the gallery announced yesterday. The restaurant – once known for its excellent and well priced wine list – won’t reopen due to the apparent offensiveness of the mural on its walls. Diners used to be embraced by the mural, The Expedition in Pursuit of Rare Meats, a painting by Rex Whistler, an artist best known for his decorative murals in grand country houses. He was killed in France in 1944 fighting the Nazis, in other words engaging in anti-racist action. When the Tate restaurant first opened in 1927 it was described as ‘the most amusing room in Britain’. It was a favourite spot for BBC political editors to lunch their political contacts.

The magic of champagne

The four portraits of four siblings that Catriona had painted from their photographs over four months were framed, hung and lit and ready for a viewing by the loving parents. That so much creative endeavour should succeed or fail at a glance made me terribly glad I wasn’t a painter. At the appointed hour of six o’clock, I was still in bed upstairs, but listening out, as anxious as she was. Then I heard the parents’ optimistic tattoo on the front door. We needn’t have worried. I heard them spot their children hanging on the rock face, then their overjoyed exclamations at the interpretations and likenesses. She’d captured their two sons and two mile-and-a-quarters’ various characters brilliantly, they said.

My plan for the Turner Contemporary

I learnt a horrible new word during the holidays: Twixmas. It refers to the 27-30 December period and has its roots in the word ‘betwixt’, although why anyone would refer to those dates as ‘betwixt’ Christmas and New Year rather than ‘between’ is beyond me. Caroline, who now works in travel, introduced me to it and the reason it came up is that she booked an Airbnb in Margate for precisely those dates. This was to be our Twixmas holiday. Not ideal because there were QPR games on the 27th and the 30th, one of them in Bristol, but by criss-crossing the country in our VW seven-seater I made it work. First the good news. Margate is actually quite nice.

Are Bored Apes racist?

A plague of apes has spread across social media. Wherever you look, blank simian faces stare back at you. Their features? Sickening. Their prices? Equally so. The apes have brought in more than $1 billion (£750 million) in sales. Eminem, Mark Cuban and Shaquille O’Neal are just some of the famous names who own an ape. Where have they come from? What do they mean? How can we get rid of them? The Bored Ape Yacht Club sells NFTs. In essence, an NFT — which stands for 'non-fungible token' — is a unique piece of data stored on a blockchain, a digital ledger, which can be associated with a work of art, or music, or literature. Bored Ape NFTs are associated with images of, well, bored apes.

What musicians like me learned from the pandemic

My mother died earlier this year aged 85. She left me her old pianola. These were popular in the 1920s and 1930s before people had records and hi-fis. You would put the rolls on the pianolas and they were cut by the great pianists of the day, from the popular players like Charlie Kunz, as well as the star jazz and rhythm pianists like Fats Waller or Jelly Roll Morton, and also the great concert pianists like Rubinstein. You would simply put the piano roll on and then pedal away. The old war-damaged pianola had been left to her by her mother — and I learnt in my grandmother’s front room — so the old piano has lasted for three generations. Without that pianola, all the extraordinary things in my life would never have been possible.

The art and science of Fabergé

After all the magnificent presents she’d received from his workshop, Queen Alexandra was eager to meet the most famous jeweller in Russia. ‘If Mr Fabergé ever comes to London,’ she said to Henry Bainbridge, a manager of the design house, ‘you must bring him to see me.’ Peter Carl Fabergé paid a rare visit to the capital to inspect his new shop — the only one located outside the Russian empire — at 48 Dover Street in 1908. ‘The Queen wants to see me! What for?’ he asked an exasperated Bainbridge. ‘Well, you know what an admirer she is of all your things.’ Insisting that she would not wish to be troubled, Fabergé demurred, polished off his lunch and requested the time of the next train.

How do we calculate the value of a painting?

There’s an intriguing conversation on YouTube between Mark Carney, former governor of the Bank of England, and the artist Damien Hirst. It will be easy to find on Google, since these are not names normally found on the same page. Ten minutes in, Hirst makes an engaging observation about the value we attach to art. He explains that art collectors will pay anything for a painting, even though the raw materials cost almost nothing. It’s a hundred quid’s worth of canvas, wood and paint, but you can sell it for millions. ‘The problem happens when you make something like a diamond skull.

Sale of the century: the contents of the Sitwells’ mansion are going under the hammer

In my bedroom there is a small lidded laundry basket. It was designed by Geoffrey Lusty for Lloyd Loom, a company that has, since 1917, been producing surprisingly durable furniture made from lacquered woven paper fabric for the middle classes. The basket is globular and stands on three spindly legs. It is weatherbeaten, and slightly worn, because it was produced in 1957, at the dawn of the Space Era. Indeed, it is a Sputnik wicker linen basket, designed in the style of the famous satellite. Only 100 were ever produced. Why is this double design classic not in a museum? It may be that one is. As far as this one is concerned, however, I bought it at an auction in Bedfordshire last month for just over two hundred quid.

The political power of Roy ‘Chubby’ Brown

There is a rather sweet moment in the middle of each Roy ‘Chubby’ Brown show where, after some magnificently obscene one-liner, he addresses the howling audience. ‘I love you people,’ he says. ‘Just like me, you’re rough.’ The audience laughs and applauds at this observation of itself. The wall is broken and the performer and audience are as one. This is ‘rough’ used primarily in its north-east of England context, meaning not so much violent or abrasive (although both are also possible), but cheap and low-down and a little bit ugly. Roy’s now 76 and has been knocking them dead for 40 years, packed houses wherever he goes. But you won’t see him on television.

The art of selling vaccines

I was bemused when I first saw the photograph of spaced-out chairs and vaccination booths in the Turbine Hall of the Tate Modern. Was this an art installation designed to probe the relationship between personhood and state? Were we supposed to question the transformational power of medicine, in a live enactment of biomedical transubstantiation in the cathedral-like space? Alas, this was not art, à la Kara Walker, Olafur Eliasson or Carsten Holler. This was an NHS pop-up vaccination clinic, replete with a DJ ‘spinning tunes’. Presumably some clever behavioural psychologists have had a stab at what ‘groovy’ looks like, in an attempt to induce London’s trendy youngsters to be vaccinated.

How I was stitched up by the Royal Academy

Recently I found myself cancelled by the Royal Academy. It was a strange affair, and this is how it happened. I’m an artist who makes a living out of creating intricate hand-embroidered portraits and flowers. I was working in my garden one afternoon last month when a glance at Instagram took me aback. My friend Laura was defending me against… well, I didn’t quite understand who or what. Laura was at work and couldn’t talk, so it was only later that evening that I began to realise what was going on. It turned out that some keyboard warriors had mounted a witch-hunt against me with the intention of getting me banned from the RA, which sells my work in its shop. My transgression?

Welcome to the Impasse Ronsin – the artists’ colony to beat them all

Of all creatives, visual artists are perhaps the least likely to work in isolation; the atomised life of garret-installed solitude is not for them. Artists have always bounced off one another, whether in colonies, studios, collectives or co-operatives. The YBAs would not have been a thing, let alone a now-unfashionable acronym, had a significant group of them not chosen to hang out together. There are outliers, of course, but for the most part artists seem to like rubbing along together, perhaps in the belief that the fumes of oil from one studio can inspire brushwork in the one next door. The Impasse Ronsin, a tiny cul de sac in the 15th arrondissement of Paris, was the artists’ colony to beat them all. It had everything: fame, obscurity, money, poverty, radicalism, outrage.

The art of Dolly Parton’s bra

New York I hope this is my last week in the Bagel. I plan to fly first to Switzerland and then on to London. There’s the annual Pugs Club lunch I cannot afford to miss, but now that Boris is married I don’t suppose he gives a damn about the poor little Greek boy and his club lunches. Incidentally, the little bird has answered my last week’s query about The Spectator bash: the sainted editor is waiting to hear what, yes you guessed it, the new bridegroom premier will allow this summer. Boris doesn’t seem to be able to make up his mind whether the magazine he headed for close to eight years should go two years without a party. Oh boy, it’s getting very confusing, and I for one have lost the trust I once had in science.

The art of politics: what ministers hang on their walls

On the walls of the Chancellor’s office hangs a print of Eric Ravilious’s lithograph ‘Working Controls while Submerged’ (1941). Two engineers in blue overalls heave the levers of a submarine. A third slumps asleep on a bench. An image, perhaps, of the ship of state, several hundred feet underwater, but by no means sunk yet. We might picture Rishi Sunak in the Treasury control room, changing the gears, working the pumps, keeping the country bumping along even at the bottom of the economic ocean. Or perhaps Sunak looks at his four framed screen-prints by the artist Justine Smith — ‘Pound’, ‘Euro’, ‘Dollar’, ‘Yen’ — and thinks: if only it were so easy just to print money.

Seven walks inspired by artists

As we all discovered during lockdown, going for a walk is one of the best things you can do to keep your mind and body in good working order, and for me it’s even better if there’s some artistic or literary interest en route. Some of my favourite outings over these last few years have been spent following in the footsteps of artists and writers, and now Britain is opening up again it’s the ideal time to get back on the cultural trail. Here are a few of my favourite arty walks. I’d love to hear about some of yours.

The strange magic of the mountain hare

The numbers of the dear old mountain hare in England are becoming perilously depleted. A researcher, Carlos Bedson, has suggested there may be only 2,500 left in the Peak District. Warmer weather seems to be finishing them off. It is time to appreciate them and their cousins, the brown hare, more and to look after them. I was in my thirties when I’d head up on to Saddleworth Moor with my father-in-law to watch the white-furred mountain hares. We didn’t say much, we just took in the old magic of those beautiful creatures. I’m not the only one to love hares. That great English poet and hymnodist William Cowper suffered from severe depression and many breakdowns. It was adopting three leverets as pets that began to turn the mental tide.

It is impossible to imagine Henrician England except through the eyes of Hans Holbein

‘Holbein redeemed a whole era for us from oblivion,’ remarks the author of a trilogy of novels set at Henry VIII’s court. ‘He has forced us to believe that his vision of it was the only feasible one.’ This is a bit of a tease. It’s not written by Hilary Mantel, as you might be expecting, but by Ford Madox Ford, who, a century before Wolf Hall, published a sequence of novels about Henry’s fifth queen, Katharine Howard. Nevertheless, Ford’s point is irrefutable. It is impossible to imagine the England of Henry VIII except through the eyes of ‘the King’s Painter’, Hans Holbein.