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CRAFT ISN’T A DIRTY WORD The art world has been divided since the beginning of the twentieth century. On the one side, the rejection of craft has led to a proliferation of intellectually empty, derivative ‘art’ that most people don’t...
By Sue HubbardI have long been interested in the work of Chantal Joffe and have written about her on several occasions. Her figurative paintings of family and friends are rooted in a gritty, observed reality which makes her unusual...
How much context do we need to appreciate a painting? Take, for example, Vanessa Bell’s Studland Beach, 1912. We might describe it in terms of its diagonal division: a mauve-blue mass floats above; a blanched beige sits below. Two...
The exhibition at London’s National Portrait Gallery differs from William Rubin’s one on Picasso’s portraits twenty years ago at MOMA by defining Picasso’s portraits more tightly.  Picasso’s incorporation of his circumstances and surroundings in his art led Rubin to...
Picasso Sculpture opened to great acclaim last September at New York’s Museum of Modern Art before moving to the Musée National Picasso-Paris and is now to be seen at BOZAR in Brussels. The exhibition as it appears in Europe...
This autumn the Berloni gallery presents the first London exhibition of Palestinian artist Kamal Boullata’s work since 1978.  The acclaimed artist who is known both for his geometric abstract paintings, and for his intricate explorations of Palestinian identity and...
Upon viewing Jackson Pollock’s 1951 solo show in which he debuted his now famed ‘black paintings’, friend and fellow painter Alfonso Ossorio commented that the pieces, ‘demand alertness and total involvement…Without the intricacy of colour and surface pattern…they reawaken...

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