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Recent Posts

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  • A SHOW THAT CONVINCED ME THAT FRANZ WEST IS ONE OF THE GREATEST ARTISTS OF THE TWENTIETH CENTURY May 16, 2019
  • DON McCULLIN: THE PHOTOGRAPHER THAT PUT FASHION INTO REALISM WHEN AT HOME BUT WHEN ABROAD EMBRACED A ‘BRAVE’ WHITE MAN HUMANISM THAT REINSTATED THE IMPERIAL CLAIMS HE ALLEGEDLY OPPOSED March 24, 2019
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  • WHAT HAS ALWAYS BOTHERED ME ABOUT THE BP PORTRAIT AWARD IS THAT BOTH ARTISTS AND VIEWERS RUN TO PRAISE EACH OTHER FOR HOW INCLUSIVE AND TOLERANT THEY ARE, LEAVING PERVERSION, HESITANCE AND DARKNESS ASIDE September 21, 2018
  • MATTHEW COLLINGS DIMISSES PICABIA AS ‘BORING’, DAN COOMBS DOES THE SAME WITH ME AS ‘POSTRUCTURALIST’ AND I LEFT THE FIRST WORLD WAR TATE BRITAIN SHOW FEELING THAT UK INSTITUTIONS MIRROR THEIR ARTISTS POST VICTORIAN PATRIARCHAL BELIEFS September 14, 2018
  • THE #METOO CURATORIAL DILEMMA: FEMINIST ART OR ART MADE BY WOMEN? September 6, 2018
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  • AT TURPS STUDIO, THEY FAILED AT TEACHING THEIR STUDENTS HOW TO PAINT BUT INSTEAD THEY GAVE THEM CLEAR DIRECTIVES ON HOW TO PRICE AND QUICKLY PUT THEIR WORK IN THE MARKET August 26, 2018
  • PATRICK LEIGH FERMOR, JOHN CRAXTON AND NIKO GHIKA’S AUTISTIC HOMOSOCIAL EFFORT TO RESTORE GREECE TO ITS FORMAL GLORY IN A BIZARRE ETHNOGRAPHIC EXHIBITION AT THE MUSEUM THAT KEEPS THE ELGIN MARBLES August 19, 2018
  • IN A COUNTRY THAT HAS USED HOLLYWOOD AS A DIVERSION FROM ITS OWN CHAOS, US ‘PRECISIONIST’ PAINTERS GET NEUROTICALLY REAL AT AMERICA’S COOL MODERNISM: O’KEEFFE TO HOPPER (ASHMOLEAN)  August 7, 2018
  • SIMON ENGLISH’S BOSCHIAN PORTRAYAL OF A MASCULINE GHETTO OF SEXTARDS FOR WHOM CHEMSEX AND DISCONNECTION ARE A WAY OF LIFE July 30, 2018
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  • OXFORD’S ASHMOLEAN PRESENTS SUDANESE ARTIST, IBRAHIM EL SALAHI AS POST COLONIAL MODERNISM BUT WHAT THEY REALLY MEAN IS FINANCIAL GLOBALISATION July 14, 2018
  • AREN’T BEYONCÉ AND JAY Z FUNCTIONAL TO THE PERPETUATION OF THE ‘CIVILISED BARBARISM’ THAT MUSÉE DU LOUVRE EMBODIES? July 10, 2018
  • LEE BULL AT HAYWARD: A GOOD ARTIST BLOWN OUT OF PROPORTION BY A GREEDY ARTISTIC BUREAUCRACY? July 6, 2018
  • HOW NOT TO FALL INTO THE TRAP OF BEING PICASSO? June 29, 2018
  • THE OUTSTANDING RETROSPECTIVE OF JOAN JONAS AT TATE MODERN TEACHES US THAT GRIEF IS NOT LINEAR BUT HAUNTS US FROM WITHIN, WHENEVER IT PLEASES June 16, 2018
  • TATE MODERN’S ‘SHAPE OF LIGHT’ IGNORES THE LIQUID VIRTUES OF THE PHOTOGRAPHIC MEDIUM ONLY TO OBSESSIVELY SUBMIT THE VIEWER TO A POINTLESS VISUAL EXPLORATION OF WHETHER PHOTOS CAN EMULATE MODERNIST PAINTINGS OR NOT June 7, 2018
  • MODERN ART OXFORD STAGES A SHOW ON DECOLONISATION BUT ITS SPONSORSHIP TACTICS REVEAL ITS EAGERNESS TO REINFORCE EUROPEAN COLONISATION TRADING INTELLECTUAL AUTHORITY FOR MONEY June 2, 2018
  • THE COURTAULD GALLERY USED AS A COMMERCIAL PLATFORM FOR PROMOTING KATRIN BELLINGER’S COLLECTION OF DRAWINGS AS AN ART DEALER May 11, 2018
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