Siena: The Rise of Painting 1300?1350. Review by Graham Buchan. This, quite simply, is a stunning exhibition. It asserts that the first half of the fourteenth century is when painting came into its own. It was now that painting, as an art form, first became something to be commissioned and acquired.
Graham Buchan
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Wagner and the Bayreuth Festival. Review by Graham Buchan. Wagner divides opinion. Even amongst opera lovers there are those who cannot abide his works, whilst others elevate him to almost God-like status.
Emilia Perez. Review by Graham Buchan. A story about violence as a musical? A drug lord wanting to transition to a woman? A song by a Thai sex-change surgeon? A singer who cannot sing? A director working in a language he doesn’t know? None of it should work. But it does, brilliantly.
Open Wound. Review by Graham Buchan. Open Wound is Lee’s response to the annual commission to make an artwork to fill Tate Modern’s massive Turbine Hall.
Gavin Jantjes: To Be Free! Review by Graham Buchan. Jantjes earliest work on show here is a range of screenprints where he expresses his rage, not just at the oppression in his own country, but in other colonial territories such as Algeria, Ghana and Mozambique.
Expressionists – Kandinsky, Münter and The Blue Rider. Review by Graham Buchan. The Blue Rider was a diverse group of avant-garde artists from a variety of countries and backgrounds who gathered together in Munich pre-First World War to share their beliefs and enthusiasms.
The Last Caravaggio. Review by Graham Buchan. Sometimes it is more rewarding to spend extended time with one great example of an artist’s work than to work through a whole exhibition. This is the opportunity being offered by the National Gallery’s free show The Last Caravaggio.
The Zone of Interest. Review by Graham Buchan. What qualifies a film as a masterpiece? Well, if it rattles around your mind for several days afterwards that’s a pretty good sign. The Zone of Interest does this in spades, having already chilled you to the marrow.
Sarah Lucas: Happy Gas. Review by Graham Buchan. It is clear from this retrospective of Sarah Lucas’s thirty-five year career that an obsession with tits, toilets, cigarettes, shoes and chairs informs much of her work.
Paula Rego: Crivelli’s Garden. Review by Graham Buchan. Two years ago Tate Britain mounted a major retrospective of Paula Rego’s work and it was a great exhibition. Now the National Gallery shows a single piece of Rego’s work, albeit a big one: Crivelli’s Garden is nearly ten metres wide and two metres high.
![Piet Mondrian, Composition in colour B, 1917. Oil on canvas, 50.5 x 45 cm. Collection Kröller-Müller Museum[48965]](https://londongrip.co.uk/wp-content/uploads/2023/04/Piet-Mondrian-Composition-in-colour-B-1917.-Oil-on-canvas-50.5-x-45-cm.-Collection-Kroller-Muller-Museum48965-180x200.jpg "Piet Mondrian, Composition in colour B, 1917. Oil on canvas, 50.5 x 45 cm. Collection Kröller-Müller Museum[48965]")
Hilma af Klint & Piet Mondrian: Forms of Life. Review by Graham Buchan. I recommend this show because any exhibition which redresses the balance in favour of a neglected artist is to be commended even if, as I think, af Klint’s work is not altogether good.
Here We Are, by Stephen Sondheim. Review by Graham Buchan. The production of a new work by Stephen Sondheim is a significant event in any cultural calendar.
By Graham Buchan • added recently on London Grip, musicals, theatre • Tags: Graham Buchan, musicals, theatre