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Posts Tagged ‘Royal Academy of Art’

Another visit to Masterpiece London, an extraordinary art and antique fair with museum quality exhibits in a stunning temporary structure in Chelsea. This year’s art crop included Canaletto, Picasso, Chagall, Warhol and Banksy, all for sale. It’s hard to believe people come to a marquee, albeit a luxury one, to buy things like this, but they do.

I didn’t think the Royal Academy Summer Exhibition lived up to recent years, but the bonus was seeing an excellent painting of a friend, and it’s always worth a punt. Upstairs, Painter of Disquiet, an exhibition by relatively unknown late 19th century Swiss-French painter Felix Vallotton, proved a treat. An extraordinarily diverse range of subjects and styles, but all rather lovely.

I love seeing the work of artists I’ve never heard of, and after my second time at Van Gogh & Britain at Tate Britain, I took in the Frank Bowling retrospective. Not all of his experiments with paint caught my imagination, but much did, so he was a welcome find.

The Michael Rakowitz exhibition at Whitechapel Gallery was more interesting than aesthetically pleasing. The best installation linked the break-up of The Beatles with events in the Middle East at that time and included footage of them discussing playing live again, possibly in North African amphitheatres. They ended up playing on the Apple building roof, of course, and the installation included film of a recreation of that on a Jerusalem rooftop!

Two treats at the NPG starting with the queen of the selfie, Cindy Sherman, who only photographs herself, but in all sorts of guises, mostly satirising society and fashion. Sometimes spooky, but strangely compelling. I followed this with the BP Portrait Award exhibition, which is of an astonishingly high standard this year.

Lee Krasner at the Barbican Art Gallery proves she was much more than Jackson Pollock’s wife, having lived her life in his shadow. The abstracts weren’t all to my taste, but it was a comprehensive and worthwhile retrospective.

The AI: more than human exhibition at the Barbican was a bit hit-and-miss. In the first part, the background, in The Curve Gallery, there was too much in a small space with too many people, but some of the interactive stuff, like the all-around projections in The Pit, were great – and the cocktail making robots were huge fun.

Beyond the Road at the Saatchi was a very creative immersive exhibition which combined art, film, sound, light and original music to create a hugely atmospheric space to explore. Two of the Punchdrunk boys and musician James Lavelle were behind it. Whilst there I took in two small exhibitions by Chinese artist Mao Jianhua and Sudanese artist Ibrahim El-Salahi, both interesting, but neither particularly striking.

Initially I thought my first visit to the Zabludowicz Collection for Rachel Rossin’s video & VR work Stalking the Trace was going to be another of Time Out’s wild goose chases, but there was also a quirky mixed show and an artist showcase and the converted chapel proved to be an interesting space for art.

Cutting Edge: Modernist British Printmaking at Dulwich Picture Gallery was simply stunning. The work of people from the Grosvenor School of Art in the 1920s-40s, there wasn’t one item that didn’t please in some way. One of the best exhibitions of the year in what is fast becoming one of my favourite galleries.

Manga at the British Museum surprised me. Its traditions go back to the 19th century, and influences beyond that, and the BM has been collecting it for 10 years. It’s a very broad review, very informative, a real showcase for the skills of its proponents.

Kiss My Genders at the Hayward Gallery sets out to explore gender fluidity but goes off-piste quite a bit. It’s way off-the-wall and only occasionally engaging. In the Project Space at the same venue, Hicham Berrada’s Dreamscapes were rather fascinating, using scientific processes like chemical reactions to create art.

A visit to the newly, beautifully restored Pitzhanger Manor in Ealing was a double treat because of the Anish Kapoor exhibition, 10 new ‘mirror’ works, in their gallery next door to the house, which itself is a peach of classical architecture and design. To justify the long schlep West, I also visited the Heath Robinson Museum in Pinner, also a double treat with a small exhibition of Tim Lewis’ automata, Post Nature, alongside the small permanent exhibition of Heath Robinson’s work and displays about him and his family.

My companion described the V&A’s Food: Bigger than the Plate exhibition as a bit like a school project. It certainly started out like that, but there were interesting sections on recycling and sustainability, a terrific silent movie showing mass food production and a tasting bar where they made you something on the basis of the three words you chose from the fifteen available, so worth a visit, if not wholly successful.

A fascinating triple bill at Tate Modern, starting with the playful Olafur Eliasson retrospective In Real Life. Coloured shadows, a 13 metre tunnel of haze and colour, a wall of lichen and all sorts of reflective stuff. Great fun. Natalia Goncharova’s retrospective proved how diverse her paintings are, both in terms of style and subject, and how beautiful her use of colour. The ballet sets and costumes were a bonus. Takis: Sculptor of Magnetism, Light & Sound was just that, mostly metal pieces that moved or made sounds which I liked more than I thought I was going to. All three added up to a bit of a quirky art fest.

I went into town to take in two exhibitions, but as is often the case walking between galleries in Mayfair leads you into others – sometimes successfully, sometimes not. My first planned destination was Gagosian for Francis Bacon: Couplings, fourteen double-figure paintings. I felt it was just more Bacon, with the curatorial coupling idea adding nothing. The first distraction, at Halcyon, was Bob Dylan’s surprisingly good paintings of American life, painted whilst on tour. I’m sure they wouldn’t get such a showcase if he wasn’t Bob Dylan, but he is a talented painter. The less said about his gates made of recycled iron items the better, though. At Camden Arts Centre’s pop-up in Cork Street, I wandered into Time Out recommended Wong Ping: Heart Digger, which is a combination of subtitled Chinese animations and inflatables; I yawned a lot, but the youngsters seemed to enjoy bouncing on the inflatables. Art. My second planned destination was the treat of the day. Finnish artist Helene Schjerfbeck (1862-1946) is virtually unknown here, but when you see her sixty-five pictures at the Royal Academy you can’t help wondering why. Perhaps the fact her work changed and evolved meant she didn’t have one style, at a time when artists were known for and by their style. Mostly portraits, including a whole room of seventeen self-portraits spanning sixty years of both her ageing and her art, I found it captivating. Popping into Pace, a commercial gallery in the RA building, passed five minutes just by the walk through, as there was little need to stop and look at the mainly white ‘abstractions’ of At the Edge of Things: Baer, Corse, Martin, three artists I don’t think I’ve seen before and have little desire to see again.

I’d never heard of the BJP (British Journal of Photography) Award, or been to the T J Boulting Gallery in Fitzrovia, and it was Time Out again that sent me to see this year’s winning project, Jack Latham’s Parliament of Owls. It tells the story of the highly secretive Bohemian Club’s summer camp in Northern California, through photos from the outside. Its members have included nine presidents – five republican ones from the last fifty years! – and it’s a magnet for conspiracy theorists. The photos are well taken ones of dull places and subjects, but I did get caught up in the story.

At the Serpentine Galleries, the Faith Ringgold retrospective was a brilliantly uncompromising selection of paintings, quilts and embroideries which seemed to shout ‘black lives matter’, even though most were made well before that phrase came into general use. Luchita Hurtado: I Live I Die I Will Be Reborn was less fascinating, but with enough interesting pictures to make the short detour worthwhile

The annual Freize open air sculpture show in Regent’s Park was way better than last year, with quite a lot of treats amongst its 20 or so sculptures. Particularly enjoyable on a sunny afternoon in the park.

I’ve seen a lot of Dale Chihuly‘s glass works in the US (Denver, Tacoma & Seattle), at a selling exhibition in London, and once before at Kew Gardens. This time, though, it was at night walking through the gardens and in one of the greenhouses, where live music accompanied them. A lovely experience, though now I need to see them in daylight to appreciate the difference. A great way to end my summer of art in London.

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Classical Music

It’s baffling that Hubert Parry’s oratorio Judith hasn’t been performed in London for 130 years. How many Messiah’s and Passion’s Mark and John have we had since then? The London English Song Festival made a fine job of a demanding work to a sadly sparse Royal Festival Hall audience. It really ought to be at The Proms!

Handel’s Semele at the Barbican was a truly transatlantic affair, with British period chamber orchestra The English Concert, New York’s Clarion Choir and three soloists from each side of the pond, and it was terrific, a truly uplifting evening.

I’m a lover of Handel, but I didn’t even know there was such a thing as Handel’s Brockes-Passion. It’s so rarely performed, and it’s taken the Academy of Ancient Music over a year to produce a performing edition, so there was much anticipation in the audience of Handelians at the Barbican on Good Friday 300 years after it was first performed. They lived up to it, delivering a finely played and sung performance of this underrated work. Soprano Elizabeth Watts was particularly wonderful.

Contemporary Music

I was taken to see The Upbeat Beatles tribute band at Melton Theatre as a surprise. Though the production values (costumes and video projections) were a bit amateur, the musicianship was excellent and you couldn’t help being swept away by the nostalgia of listening to the best back catalogue of any band ever.

Joe Jackson’s London Palladium concert celebrated his four decades in music by focusing on five albums – one from each decade, including his first and his new one. It was good to hear hits alongside some neglected pieces and some new ones. His band still includes brilliant bassist Graham Maby – they’ve worked together for 46 years, in what must be one of the longest lasting musical partnerships ever – with a terrific new guitarist and drummer making it one of the tightest bands I’ve ever heard; positively thrilling.

I think I’m going to have to abandon my search for a thoroughly satisfying Rufus Wainwright concert. I’ve only regretted one of the last seven, but there’s always something marring them, often too much messing around. This time it was song choice. He hasn’t released a new album for seven years, so he decided the tour, visiting the Royal Albert Hall, would celebrate his 20-year career by playing his 2nd album in full. That wasn’t a bad idea, but culling most of the rest from his first album was. The last two encores made you realise how much of the rest of his back catalogue you missed. No one album is without fault and the best songs are spread over all of them, so selecting two from seven is a flawed strategy, and an unnecessary interval a mistake!

Maria Friedman’s new cabaret show From the Heart at Brasserie Zedel showcased a very unpredictable and very personal selection of songs, benefiting from the intimacy of the Crazy Coqs room. Pianist Theo Jamieson is more than a match for her regular Jason Carr and she delivered what she promised – ‘From the Heart’ – ninety minutes with friends in her front room. Lovely.

Dance

I had to be talked into English National Ballet’s She Persisted at Sadler’s Wells, a triple-bill of ballets by and about women. They were brilliant – an exciting, original one about Frida Kahlo, a short very dramatic one about Nora from Ibsen’s play A Doll’s House (with Philip Glass the perfect accompaniment), and Pina Bausch’s thrilling 1975 version of Stravinsky’s The Rite of Spring. After so many dance evenings of little over an hour, this was a real feast.

Comedy

I couldn’t resist the prospect of Rob Brydon in conversation with (or ‘probes’, as it was billed) Barry Humphries at the London Palladium. He’s 85 years old now and his anecdotes and stories take time, but he was outrageously and refreshingly politically incorrect it had me in floods of tears on a number of occasions. Two very funny people and two of my favourites.

Film

White Crow, about Rudolph Nureyev’s defection, was a good if not great film. I particularly enjoyed the cold war setting and style.

I’ve much admired how Jessie Buckley, runner-up in the TV casting of Nancy, has managed her career, putting it on hold to go to RADA, then working on stage and in both TV and films. She’s excellent in Wild Rose, a superb film about a wannabe Glaswegian country star, which uses both her acting and singing talents fully.

Art

A mammoth catch-up month!

Van Goch in Britain at Tate Britain is a brilliant exhibition, though the curatorial conceit is a bit dubious. I was very glad we entered as it opened and left the first room for last as we avoided the crowds, the biggest I’ve ever seen at an exhibition. Mike Nelson’s installation The Asset Strippers in the vast Duveen Gallery upstairs makes you think about the demise of our manufacturing base by filling the gallery with industrial items, but it isn’t particularly aesthetically appealing!

The Renaissance Nude at The Royal Academy exceeded my expectations, including a surprising number of works by real masters, though again too much religious subject matter for my liking. Philida Barlow’s three room exhibition of new work, Cul-de-sac, also at the RA, was hardly worth visiting for free, so I pity the non-members who had to fork out £12 for tosh, albeit monumentally large tosh.

The exhibition of Edward Munch drawings Love and Angst at the British Museum was way better than I was expecting and so much more than The Scream, though mostly just as dark! It effectively forms a frieze of his life of anxiety.

Two Temple Place is one of London’s most beautiful buildings, but it isn’t a great exhibition space, and John Ruskin: The Power of Seeing suffered from this in an exhibition that wasn’t particularly well curated either. I learnt a lot about him, though (included how opinionated he was), which made the trip worthwhile.

The Hayward Gallery had two very interesting but completely different exhibitions. Diane Arbus: In the Beginning featured a stunning selection of late 50’s / early 60’s B&W photos of New York life, with brilliant titles for the works. French-Algerian Kader Attia’s somewhat angry multi-media installations The Museum of Emotions were more challenging, and I felt I was being fed anti-colonialist propaganda. Still, a fascinating pairing and worth a visit.

At Tate Modern, another artist I’d never heard of, surrealist Dorothea Tanning. It turns out she was married to Max Ernst. Though many of the early works are somewhat derivative of more famous surrealists, they are great pictures. She moved on to a more impressionistic style and eventually soft sculpture, which is where she lost me. The less said about Franz West’s work, in the same gallery, the better, so I’ll just say ‘tosh’ again.

I’m not really one for fashion, but a visit to the V&A’s very theatrical Galliano exhibition a while back wowed me, so I decided to give Christian Dior: Designer of Dreams a go as its free for members. Whether you’re interested in frocks or not, the design and display of this show is spectacular. Being the first in at 10am helped, as my iPhone & I had every room to ourselves. It was probably a mistake going to Mary Quant straight after. Even though she did more than anyone to make fashion accessible, and her story is well told in the exhibition, it’s not in the same league in terms of elegance, beauty and craftsmanship.

At the Serpentine Galleries another double-bill, beginning with Emma Kunz – Visionary Drawings, or as I’d rather call them Obsessive Pendulum-Assisted Pictures, a bit like ones made with those geometric drawing kits you used to get as a kid. Hito Steyerl: Power Plants was more interesting, video’s created by some sort of artificial intelligence. The explanation hurt my brain, but they looked pretty. There were all sorts of other things associated with the work, including walks and an app, but I focused on what was on view in the gallery.

Late 19th / early 20th century Spanish artist Sorolla is another one new to me and for once the National Gallery exhibition lived up to its title Master of Light. I was blown away by the beauty of the pictures, 55 of them, mostly from fairly obscure galleries or private collections, which made it a once-in-a-lifetime opportunity. Gorgeous.

At the NPG, Martin Parr’s quirky, colourful, brash documentary photos made me smile. He’s good at capturing the British at the seaside in particular, though part of me feels Only Human is a bit patronising, even unfair on his subjects, as if they were in a freak show, but most of the time I just smile! By complete contrast Elizabethan Treasures: Miniatures by Hilliard & Oliver is a collection of finely crafted Elizabethan and Jacobean portraits, though it did strain your eyes, and having to wait for a magnifying glass (there weren’t enough) then space to see them, all became too tiresome for me.

The surprising thing about the Sony World Photography Prize exhibition at Somerset House is that the amateurs outshine the professionals, who seem to be following a path of contrived, staged photos that owe more to post-photography manipulation than the creative eye of the photographer. Still it’s good to see amateur, student and young photographer works shining.

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Opera

Scottish Opera visited Hackney Empire with new operatic thriller Anthropocene, which was multi-layered, brilliantly dramatic and superbly sung and played. It’s the first of the four Stuart MacRae / Louise Welsh operas I’ve seen and has whetted my appetite for more. Exciting stuff.

The Monstrous Child at Covent Garden’s Linbury Studio was terrific. The story of Norse Goddess Hel was brilliantly staged with gothic punk sensibilities and the music was strikingly original. They called it their first opera ‘for teenage audiences’ but there didn’t appear to be any in the lovely recently renovated space!

My winter opera visit to WNO at the WMC in Cardiff paired a new production of Verdi’s Un Ballo in Maschera with another look at their fourteen-year-old Magic Flute. The musical standards were as high as ever, with Ballo a thrilling gothic creation, taking its inspiration from the love of theatre of the real life king upon whose life / death the opera was originally based, and Zauberflöte a revival of the Magritte inspired Dominic Cook staging, with terrific designs from Julian Crouch. Loved them both.

Classical Music

The Royal Academy SO was on blistering form again under Sir Mark Elder with a thrilling if melancholic lunchtime programme of Britten, Bax & Sibelius. Magic.

I’m very fond of baritone Roderick Williams, whom I’ve seen as an oratorio soloist and in opera, but never in recital. In Milton Court he sang beautifully, but the largely 18th Century German programme (Brahms and Schuman) isn’t really to my taste and the three British song groupings were lovely but not enough for a satisfying evening, for me anyway.

Film

Another great month leading up to and during the awards season, beginning with If Beale Street Could Talk, a superbly filmed and beautifully performed adaptation of a James Baldwin novel; the first, I think.

Boy Erased was a chilling true story of amateur gay aversion therapy in the name of god, which fortunately ended with the reconciliation of parents and son. Young actor Lucas Hedges impresses for the third time in recent years.

Can You Ever Forgive Me? is another true story, beautifully told, with delightful performances from Melisa McCarthy and Richard E Grant. A bit of a slow burn, but ultimately satisfying.

I loved Green Book, a great comedy with heart, beautifully performed, anchored in a shameful period of American history, just 60 years ago.

All Is True looked gorgeous, but seemed slight and somewhat melancholic. Judi Dench was of course incandescent, Kenneth Branagh virtually unrecognisable and if you blinked you might miss Ian McKellen, the third person on the poster, suggesting a leading role.

Art

Dulwich Picture Gallery have discovered another Scandinavian artist, Harald Sohlberg, whose gorgeous landscapes I found enthralling. I was completely captivated by the colourful beauty of Painting Norway.

Don McCullin is a hugely important photographer who’s documented conflicts and their consequences worldwide for many years. His B&W pictures are stunning, but twelve rooms of Tate Britain is a lot to take in and it becomes relentlessly depressing, I’m afraid.

I like Bill Viola’s video works, which for some reason almost always feature people under water, but I’m not sure their juxtaposition with works by Michelangelo in Life Death Rebirth at the Royal Academy made much sense to me. It seemed like a curatorial conceit to elevate the dominant modern component and / or sell tickets.

Pierre Bonnard: The Colour of Memory at Tate Modern was beautiful. This underrated contemporary of Monet, Matisse et al filled all thirteen rooms with a riot of colour; his landscapes in particular, many taken through windows, doors and from balconies, were stunning.

At White Cube Bermondsey, Tracey Emin’s A Fortnight of Tears consisted of three giant crude bronze sculptures, a room full of big photos of her in bed and a whole load of childish paintings which wouldn’t be selected for a primary school exhibition. As you can see, I loved it. Not.

The problem with Black Mirror: Art as Social Satire at the Saatchi Gallery is that it’s often not at all clear what its satirising! Better than some exhibitions there, though. The little Georgll Uvs exhibition of ultraviolet paintings Full Circle: The Beauty of Inevitability was lovely though.

Daria Martin’s installation Tonight the World in the Barbican Curve Gallery was based on her Jewish grandmother’s dream diary and featured the apartment where she lived before she left Brno to avoid the Nazis. In the first part, the apartment is the centre of a video game she has created and in the final part, film recreates some of the dreams there. In between we see pages of the dream book, too far away to read. Interesting enough to see in passing, but maybe not the Time Out 4* experience!

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The Rest of July

Contemporary Music

My respect for Tom Jones has grown significantly in recent years, largely due to his terrific blues and gospel albums, at a point in his career when he could so easily be banking money from Las Vegas shows, and his open-air concert at Englefield House in Berkshire didn’t disappoint. A lovely evening, brilliantly diverse set list, a great band and excellent audience engagement combined to produce a very satisfying evening indeed.

Opera

The Royal College of Music put together an excellent double-bill of Huw Watkins’ In the Locked Room and Peter Maxwell Davies’ The Lighthouse. The former was interesting but the story too obtuse for me, but the latter was terrific, beautifully sung and played and thrillingly dramatic.

GSMD showcased three short operas by students on their composition course in their Milton Court Studio Theatre, performed by first year students on the opera programme. The first was an incomprehensible fantasy, the last a bit of a puzzle, but the middle a good slice of SciFi. Whatever you think of the material, all were superbly performed, though I’m not sure I liked the idea of including four scenes from three classic operas which spoilt the flow of the new for me.

I don’t go to the Royal Opera much these days, but I was drawn to Falstaff by the casting of Bryn Terfel and it turned out to be a real treat – relocated to the 50’s, brilliantly designed, with a faultless cast, though with their obscene top price of almost £200 I was only prepared to pay for a restricted view seat.

My first Prom was an opera, and it proved a bit of a disappointment. Pelleas & Melisande doesn’t really lend itself to a concert, even semi-staged, so however good Glyndebourne Opera’s singers and orchestra (the LPO) the other-worldliness it needed was something the RAH couldn’t provide, so it was devoid of atmosphere and engagement. In some ways, it might have been better in concert rather than clumsy semi-staging. It reminded me of the days when I avoided opera outside the theatre altogether.

At Opera Holland Park, the UK premiere of a century old Mascagni opera, Isabeau, inspired by the Lady Godiva legend (no, she didn’t!), was a real treat. Great choruses, lush orchestrations and two wonderful young leads.

Opera Rara have dug up some gems over the years, most notably Donizetti’s Les martyrs. L’ange de Nisida isn’t the best, but it’s the world premiere of another Donizetti, ‘lost’ for 180 years, newly reconstructed, and sung and played brilliantly by the Royal Opera chorus and orchestra under Mark Elder, with five fine soloists, at Covent Garden. A treat.

The Arcola’s annual Grimeborn Opera Festival got off to a cracking start with an intimate, intense production of Britten’s The Rape of Lucretia which was so well sung and played, any opera house would be proud to have it. Our five opera ‘passport’ means we see them for £11 each, the best opera bargain ever!

Our second Grimeborn treat was Spectra Ensemble‘s production of the very underrated suffragette Ethyl Smyth’s early 20th Century comic opera The Boatswain’s Mate which was a delight. Great singing, but also great musicianship from a powerhouse trio of piano, violin and cello. Again, the intimacy of the even smaller studio served it well.

Classical Music

Mahler’s 8th, the ‘symphony of a thousand’, belongs in the Royal Albert Hall and the 2018 Proms saw the BBC National Orchestra & Chorus of Wales plus five other choirs and eight soloists succeeded in filling it with joy. From where we sat, the acoustics weren’t the best, and there seemed to be more subtlety in the second half, but thrilling stuff nonetheless.

My third visit to the Proms was a lovely evening of English music from the beginning of the 20th Century, indeed the beginning of modern English classical music, with five works by three people who knew one another – Vaughn Williams, the very underrated Parry and Holst – three of them I’d never heard before. The BBC National Orchestra and Chorus of Wales were again on top form.

My fourth Prom was another treat, with the BBC Scottish Symphony Orchestra pairing two London symphonies 120 years apart – Haydn and Vaughan Williams. The Haydn, in particular, sounded better than any other symphony of his I’ve heard. Great to see a full house for something without ‘stars’.

Film

It was good to see Yellow Submarine again after 50 years in a superbly restored version. The artwork is astonishing, though the story is rather naff!

Mamma Mia: Here we go again was way better than the reviews would have you believe, better than its predecessor in fact. The antidote to the hate that now pervades our lives on a regular basis.

Art

Another of those bumper catch-up months for art.

Aftermath at Tate Britain, an exhibition of post-WWI art from Germany, France & the UK, was more historically fascinating than aesthetically appealing, though there were some great pictures. As if seeing 300 Otto Dix pictures in Chemnitz last month wasn’t enough, there were 18 more here!

I don’t normally like staged and posed photos, but I loved Alex Prager: Silver Lake Drive at the Photographers Gallery, a very cinematic show which included two captivating films.

Howard Hodgkin, who died last year, became a favourite artist of mine after an exhibition at the Hayward Gallery many years ago, so his final paintings at the Gagosian Gallery was essential viewing. It was more of the same, but the same is simplicity and colour.

I caught up with the Royal Academy of Art’s reconfiguration and renovations in a lovely morning feast of art that started with the excellent Grayson Perry curated Summer Exhibition, which can now breathe, with the Sackler Galleries added for the prints. Then there was The Great Spectacle, a terrific exhibition covering the 250 years of the Summer Exhibition which linked the existing John Madejski Fine Rooms with the Weston Rooms in the main space. Then through a newly opened tunnel to the Burlington Gardens building for the Summer Exhibition’s great (free) fun room, after which It ended on a bit of a low with Tacita Dean Landscape, which did marginally more for me than her companion exhibition at the NPG.

Shape of Light at Tate Modern examines the relationship between photography and abstract art over 100 years. Though fascinating, the photos were largely aesthetically unappealing and it all seemed a bit nerdy. Thankfully, the art was great, with the recently visited Bauhaus featuring.

South Korean artist Lee Bul’s exhibition at the Hayward Gallery was full of quirky things, many involving reflections. Some individual works were excellent, but it was the impact of the whole lot that made it worthwhile, a very original riot of brightness. In the project space, Yuan Goang-Ming’s video work was intriguing.

A theatrical day trip enabled me to pay a visit to the Southampton City Art Gallery. In addition to a small but impressive collection of masters, there was the terrific room showcasing the 10-picture The Perseus Story by pre-Raphaelite Edward Burne Jones, exhibitions by living artists George Shaw and Kelly Richardson and Coast, photos of the nearby coastline and seaside by the local Photographic Society. In the University’s new John Hansard Gallery, a Gerard Richter exhibition proved fascinating, though I’m not his biggest fan. It’s a lovely new space.

At the Guildhall Art Gallery, the William de Morgan ceramics exhibition was a delight. It tried to focus on his use of mathematics, but I couldn’t get past the beauty of the pots, plates and tiles! A short walk away, it was the turn of the Barbican Art Gallery to wow with a double-bill of photographic exhibitions – American documentary photographer Dorothea Lange: Politics of Seeing, with photos taken in the Great Depression and of Japanese internment and migration, and British photographer Vanessa Winship: And Time Folds, an extraordinarily diverse range of work in which her travels in the Balkans and countries around the Black Sea captivated me most.

At Newport Street Gallery, True Colours brought together the work of Helen Breard, Sadie Laska and Boo Saville. I loved Beard’s bright and colourful style, but it was rather sex obsessed, all bar one featuring explicit sexual acts. The other two did nothing for me. I’m glad it as a pop-in-while-passing visit!

At the Serpentine Galleries there was one treat and one pointless exhibition. The treat was Tomma Abts’ geometric pictures in the Sackler Gallery, which surprised me by their beauty. In the main gallery, there was an exhibition showcasing the historical outdoor work using barrels of Christo & Jeanne-Claude through drawings and models, mostly of the giant Mastaba they created for the UAE. They created a smaller one for the Serpentine Lake from 1500 barrels which seemed like much ado about nothing to me. Fortunately, this year’s Pavilion is lovely – from the inside. It doesn’t look great until you enter and see that it’s made of roof tiles with a reflective roof and water on part of the floor providing lovely images.

I would never have gone to Michael Jackson On the Wall at the NPG if I wasn’t a member; £18! I certainly wouldn’t call myself a fan, though I liked some of his music, and the messianic behaviour of his late career didn’t sit at all comfortably with me. This exhibition of artworks of and inspired by him was however fascinating, so I was glad I did go!

At the Design Museum, a fascinating exhibition called Hope to Nope: Graphics & Politics 2008-18 about the impact of graphics on politics and protest in the last ten years, including the use of social media and movements like Occupy and #MeToo. A great idea, well executed.

Julie Becker: I must create a Master Piece to pay the Rent at the ICA is one of the worst exhibitions of recent years, and the ICA seems to be in a right old state. I blame you, Time Out. Again.

One of my wanders around Mayfair’s private galleries brought rich pickings. At Hauser & Wirth, August Sander: Men Without Masks showcased the German photographer’s obsessive but brilliant B&W portraits of people of the 20th Century. In their gallery next door, Spiegelgasse (Mirror Alley) was a mixed show of Swiss artists since the 1930’s with some striking individual works by people I’d never heard of. Down the road at LAZinc, Banksy comes in from the streets for Greatest Hits 2002-2008, paintings and sculpture which do prove his worth. Next stop was Spruth Magers where 13 Cindy Sherman staged and posed character self-portraits, some multiples, each in an edition of just six, were valued at over $24m! They were good, but not that good!

Frida Kahlo: Making Herself Up at the V&A had some lovely paintings, a selection of her clothes that showed her unique style and fascinating biographical material, but it was too overcrowded, claustrophobic and poorly curated to really enjoy. We fared better in the more spacious, less crowded and cooler The Future Starts Here which was a fascinating peep into the future through current projects and initiatives.

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Opera

There was much to like about Coraline, the Royal Opera at the Barbican Theatre, but I’m not sure the adaptation and production served both Neil Gaiman’s story and Mark Anthony Turnage’s music well as neither were dark enough. Good to see a family friendly opera at accessible prices though.

I didn’t go and see the Royal Opera’s 4.48 Psychosis first time round in 2016 because I didn’t like the Sarah Kane play from which it is adapted. The reviews and awards propelled me to this early revival, again at the Lyric Hammersmith, and I’m glad they did. Philip Venables work makes sense of Kane’s play, a bleak but brilliant exposition of depression and in particular the treatment journey in the eyes of the sufferer. Words are spoken and projected as well as sung and there is recorded music, muzak and sound effects. The artistry of the six singers and twelve-piece ensemble was outstanding. Not easy, but unmissable.

Classical Music

The new Bridge Theatre put on a lunchtime concert of Southbank Sinfonia playing Schumann’s 3rd Symphony, which was a delight, particularly as they unexpectedly blended in poems read by actors. I only wish I’d booked seats within the orchestra, as that would have been a rather unique experience; let’s hope they do it again.

At Wigmore Hall, a young Stockholm-based chamber ensemble called O/Modernt gave a recital spanning almost 400 years of English music from Gibbons to Taverner with an emphasis on Purcell & Britten. They were assisted by a mezzo, a theorbo and vocal ensemble The Cardinall’s Musick. There was even a quirky improvisation on a theme by Purcell. It all sounded very fresh, though there was a randomness about it.

At the Barbican, a delightful double-dip started with a concert of Elgar choral works by the BBC Singers at St Giles Cripplegate. I particularly loved the fact the Radio 3 introductions were made by members of the ensemble. Then at Barbican Hall the BBC SO & Chorus under Andrew Davies gave a wonderful WWI themed concert bookended by Elgar pieces and featuring the London Premiere of a contemporary song cycle and a lost orchestral tone-poem, the highlight of which was an Elgar piece this Elgar fan had never heard, the deeply moving but thoroughly uplifting The Spirit of England, so good I will forgive the ‘England’ that should be ‘Britain’.

Another LSO rehearsal at the Barbican, this time with their new Chief Conductor Simon Rattle, a man who knows what he wants, if ever I saw one; Mahler’s 9th and a new work. It proved to be a fascinating contrast with Mark Elder’s less directive rehearsal method. Again, I wanted to book for the concert.

London Welsh Chorale did a good job with Handel’s Judas Maccabaeus at St Giles’ Cripplegate. It’s one of the first oratorio’s I ever heard (my mother was in Caerphilly Ladies Choir!). They were accompanied by a small orchestra and had four fine young soloists.

I actually went to the LSO Tippett / Mahler Barbican concert to hear Tippet’s Rose Lake again (I was at its world premiere) and as much as I enjoyed it, it was Mahler’s unfinished 10th which blew me away. A highlight in a lifetime of concert-going.

The British Museum reopened the fabulous Reading Room for some concerts and I went to the quirkiest, obviously, for Lygeti’s Poeme Symphonique for 100 Metronomes. They were all set off at the same time, but ended individually, with the fifth from the left on the back row hanging in there the longest for its solo finale followed by a minute’s silence. Strangely mesmerising.

Dance

The Royal Ballet’s Bernstein Mixed Bill was a lovely addition to his Centenary. The first piece, danced to the Chichester Psalms, was wonderful, and the last, to the Violin Serenade, was a delight. Though I love the 2nd Symphony, which provided the music for the middle piece, it was a bit dim and distant to wow me as the others had.

The Viviana Durante Company’s short programme of early Kenneth Macmillan ballet’s, Steps Back in Time, benefitted from the intimacy of Barbican Pit, but could have done with programme synopses so that we could understand the narrative, better recorded sound for the two works that had it, and on the day I went some aircon! Lovely dancing, though.

Comedy

Mark Thomas’ latest show tells the story of running a comedy workshop in the Jenin refugee camp in Palestine, two Palestinian comedians with him on stage and four more showcased on film. In addition to a good laugh, you learn a lot about life in occupied Palestine. The post-show Q&A at Stratford East was a real bonus. Important and entertaining.

Film

Love, Simon is as wholesome and sentimental as only American films can be, but its heart was in the right place and it was often very funny.

The action was a bit relentless in Ready Player One, and the ending a touch sentimental, but it’s a technical marvel and proves Spielberg can still cut it, now with mostly British actors it seems.

Funny Cow was my sort of film – gritty, British, late 20th Century – with some fine performances and some really funny stand-up. Maxine Peak was terrific.

I enjoyed The Guernsey Literary & Potato Peel Pie Society, though it was a bit slow to get off the ground. Particularly lovely to see Tom Courtney at the top of his game.

Art

A bumper catch-up month!

I was impressed by Andreas Gursky’s monumental photographs of the modern world (ports, factories, stock exchanges…) at the Hayward Gallery. Much has been said about the gallery’s refurbishment, but I honestly couldn’t tell the difference!

I’m not sure I understand the point of an exhibition about performance art events that have taken place, so Joan Jonas at Tate Modern was an odd affair; intriguing but not entirely satisfying. However, Picasso 1932, also at Tate Modern, was astonishing – work from just one year that most artists would be happy of in a lifetime, with an extraordinarily diverse range of media, subjects and styles. Wonderful.

I love discovering artists and Canadian David Milne at Dulwich Picture Gallery was no exception, his Modern Painting exhibition is a beautiful collection of landscapes, with one room of early city scenes, all very soft and colourful.

Another Kind of Life: Photography on the Margins at the Barbican Art Gallery brought together some world class, cutting edge photographers, but it was all rather depressing. The quality of photography was excellent, but all those prostitutes, addicts, homeless people…..Agadir by Yto Barrada downstairs in the Curve didn’t do much for me and the wicker seats you sat in to listen to the audio aspects of the installation were excruciatingly uncomfortable.

At the NPG, Victorian Giants: The Birth of Art Photography consisted entirely of portraits, mostly from the mid-19th Century, by four photographers. They were surprisingly natural and technically accomplished, but I’m not sure it was the ‘art photography’ it said on the can. At the same gallery Tacita Dean: Portrait consisted mostly of short films of people with loud projector sound as accompaniment and it did nothing for me.

At the RA, a small but exquisite display of Pre-Raphaelite book illustrations by the likes of Millais, Rossetti, Burne-Jones and Holman Hunt. A little gem, but oh for a much bigger one.

Ocean Liners: Speed and Style at the V&A was a brilliantly presented exhibition which conveyed the glitz and glamour but also covered the wonders of the engineering and the historical significance of the mode of travel. Unmissable.

At the Photographers Gallery the annual Deutsche Borse Photography Foundation Prize Exhibition had a real political bite this year with swipes at Monsanto, the US justice system and former Soviet and East European states. Downstairs Under Cover: A Secret History of Cross-Dressers was difficult to take in as it was a load of standard size snaps found in flea markets and car boot sales, but the accompanying display of Grayson Perry’s Photograph Album covering the early days of his alter ego Clare was fascinating.

The content of the Sony World Photography Awards Exhibition at Somerset House was better than ever and it was much better displayed, though it made me feel like a rubbish photographer again. In the courtyard, there were five geodesic domes, ‘Pollution Pods’, replicating the pollution in five world cities with live readings. New Delhi and Beijing come off particularly badly but London wasn’t as bad as I was expecting. It really made you think.

All Too Human at Tate Britain was another of those exhibitions where the premise was a bit questionable, but there were enough great paintings to forgive that. Wonderful Lucien Freud and Bacon pictures and a lot of 20th century British artists new to me. In the Duveen Hall, Anthea Hamilton has created a quirky swimming pool like space with sculptures and a performer moving around all day. Called The Squash, it was momentarily diverting.

Rodin & the art of ancient Greece places his sculptures alongside some of the British Museum’s collection of Greek pieces and it works brilliantly. Rodin apparently took inspiration from The Parthenon sculptures and was a regular visitor and lover of the BM. Wonderful.

The Travel Photographer of the Year Award exhibition moved completely outdoors and to City Hall this year, but the standard was as good as ever. The young photographer entries were particularly stunning.

I was overwhelmed by the scale and beauty of Monet & Architecture at the National Gallery. A once-in-a-lifetime opportunity to see 78 pictures together, a quarter of which come from private collections, a third from public collections scattered all over North America, and only 10% in the UK, half in the NG’s collection. Going at 10am on a Monday was also a good idea, seeing them with a handful of people instead of the crowds there when I left. While there I took in Drawn in Colour: Degas from the Burrell, thirty lovely works, but as always with pervy Degas all young women and girls, Murillo: The Self Portraits, which isn’t really my thing, and Tacita Dean: Still Life, which I enjoyed marginally more than her NPG show!

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Opera

My winter pairing at WNO at the WMC in Cardiff was Verdi’s La Forza del Destino, a hugely underrated opera, and Puccini’s regularly revived Tosca. The former was an excellent new production and the latter a 26-year-old one which has stood the test of time. Both were beautifully sung and conductor Carlo Rizzi has real feel for the Italian repertoire, so the orchestra sounded gorgeous.

Jake Heggie & Terrence McNally’s opera Dead Man Walking has taken eighteen years to make it to the UK and even then only semi-staged by the BBC SO. Why on earth haven’t ENO or the Royal Opera staged this modern masterpiece? Anyway, at the Barbican Hall it was an absolute triumph with a sensational cast led by Joyce DiDonato, Michael Mayes, Maria Zifchak and Measha Brueggergosman and students from GSMD in smaller roles. I left emotionally drained but privileged to have attended something so special.

Classical Music

The LSO and LSC gave one of the best performances of Mahler II I’ve ever heard at the Barbican Hall. It’s a big work that’s often more suited to bigger venues like the Royal Albert Hall, but here it was uplifting and thrilling.

Attending an LSO rehearsal in the Barbican Hall proved fascinating. Most movements were played right through before revisiting sections at the request of the conductor, soloist or players. Elgar’s 1st Symphony sounded so good I almost returned for the concert, and the rehearsal introduced me to new pieces by Janacek and Bartok.

Another of those delightful Royal Academy of Music lunchtime concerts saw their Symphony Orchestra virtually on fire under the baton of Jac van Steen in a beautiful Sibelius programme. I so love these lunchtime RAM treats.

The Royal College of Music Symphony Orchestra’s programme of more obscure Stravinsky pieces from the first ten years of his exile was more enticing on paper than it turned out in performance, though the eight visiting singers from Moscow’s Tchaikovsky Conservatoire were excellent, and their enthusiasm infectious.

Film

Phantom Thread looked gorgeous and the performances were outstanding, but I couldn’t engage with the rather flimsy and inconsequential story at all, I’m afraid.

I adored Lady Bird, a delightful coming of age film told through the relationship of a mother and daughter. It feels like an Inde film but its nominated for BAFTA’s and Oscars.

I try and see all the Oscar and BAFTA nominated films and only one or two normally disappoint. This year, in addition to Phantom Thread, it was The Shape of Water. There was a lot to enjoy, but it seemed a bit slight and overlong. A case of too much hype, I suspect.

Finding Your Feet is my sort of film, a quintessentially British cocktail of humour & romance within a well observed account of growing old. Laughter and tears. Loved it.

I, Tonya is the most extraordinary true story made into a brilliant film which is ultimately sympathetic to its subject in the same way Molly’s Game was sympathetic to its subject. Two great contemporary true stories in one year.

Art

A disappointing afternoon of art started with Peter Doig at the Michael Werner Gallery, where so many seemed sketches or unfinished works, and much smaller than his usual giant canvases. At the Serpentine Gallery, Wade Guyon’s digital paintings did nothing for me while up the road at the Serpentine Sackler Gallery, Rose Wylie’s child-like pictures did a bit more, but not a lot. On to the National Gallery, where I fared much better with Monochrome, an exhibition of black & white, grey and one colour art throughout history, ending with Olafur Eliasson’s yellow room. Fascinating.

Whilst visiting Cardiff, I popped in to the National Museum of Wales to see Swaps: Photographs from the David Hurn Collection. This Welsh photographer did just that – swapped photos with other photographers he met, including global figures like Cartier Bresson, which he has now given to the museum – a brilliant idea and a fascinating collection. Another exhibition called Bacon to Doig showed 30 items on loan from a major private collection of modern art; a real quality selection it was too. Finally, in a room containing a decorative organ they have removed the art and someone plays and sings a piece by Icelandic artist Ragnar Kjartansson called The Sky in the Room continuously – beautiful!

The Royal Academy’s exhibition Charles I: King & Collector doesn’t really contain my sort of art, but I admired much of the artistry, the significance of the collection and was hugely impressed by the extraordinary achievement of getting all of these pictures from all over the world into one exhibition.

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Contemporary Music

Alain (Les Mis) Boublil’s play with music, Manhattan Parisienne, was workshopped before an audience in The Other Palace Studio Theatre. It tells the story of the brief relationship between a French actress stranded in NYC and a gay cabaret pianist. Its structure was overly contrived – within, within, as it were – and some of the song choices, from both the French & American songbooks, a bit quirky, but it was performed well and as work-in-progress showed promise; well, some.

Martin Simpson’s Kings Place concert was a treat, particularly the song selection in the second half. The superb sound showed off his guitar and banjo playing and an attentive audience ensured you heard every note. Lovely.

The first concert at the new Bridge Theatre was folk-rock hero Richard Thompson, and after a hesitant start where he seemed a touch unhappy, it became one of his best solo concerts, with a superb selection from his back catalogue, great sound and a respectful audience. How wonderful to be top of your game at 68!

Opera

AAM’s contemporary semi-staged, Brexit-themed version of Purcell’s King Arthur at the Barbican Hall didn’t really work, but I admired them for trying and it was worth going for some lovely music and narrator Ray Feardon’s Henry V speech.

A challenging WNO three-opera weekend at the WMC in Cardiff started with a gorgeous Eugene Onegin, then an often thrilling Khovanshchina, culminating in From the House of the Dead, one of the first operas I ever saw, 32 years ago in the same production at ENO. The orchestra and chorus shone in all three and though by the third I was a bit exhausted, you have to admire WNO for their boldness, whilst others play safe.

Brett Dean’s opera of Hamlet at Glyndebourne (Touring Opera) proved to be one of the best new operas I’ve ever seen (and I’ve seen many); indeed, one of the best operatic productions I’ve ever seen too. With music all around the auditorium as well as on stage and in the orchestra pit, it was tense and hugely atmospheric. If you think the touring cast and orchestra (starting with three performances at home) would be second best, think again – they were sensational!

Dance

14 Days is the fourth Ballet Boyz show I’ve seen at Sadler’s Wells and quite possibly the best, largely because it consists of five very different pieces, each by a different choreographer and composer, each one mesmerising from start to finish. Wow!

Film

Victoria & Abdul was a delight, much funnier than I was expecting, a sumptuous production with superb performances.

I liked Blade Runner 2049, though it was too long and a touch overblown. Brilliantly filmed, though.

I enjoyed The Party, and the ending was a genuine surprise, but at 70 mins in B&W maybe I should have waited for the inevitable TV showing?

The Death of Stalin is Armando Iannucci on audacious form again, this time with a cast to die for, including a rare film appearance from acting hero Simon Russell Beale. Brilliantly blackly funny.

Art

At the RA there are another two great exhibitions to add to Matisse in the Studio. Dali / Duchamp is fairly small, but a fascinating comparison and juxtaposition of two artists, contemporaries and friends. Dali comes off better. Jasper Johns’ Something Resembling Truth is much bigger, and a revelation for me, though I did begin to overdose by the end, and on number pictures before then!

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