• Marcus Reichert obituary

    Marcus Reichert obituary
    My friend Marcus Reichert, who has died aged 73, was an American painter and neo-noir film director who spent much of his life in Britain.Marcus’s paintings reflected a darkly sophisticated vision. He painted a crucifixion series that was described by Richard Harries, when he was bishop of Oxford, as among the most disturbing painted in the 20th century, and the American critic Donald Kuspit wrote that Picasso’s and Bacon’s crucifixion paintings paled in comparison. Later works
  • The Guardian view on Unboxed: so much for the ‘festival of Brexit’ | Editorial

    The Guardian view on Unboxed: so much for the ‘festival of Brexit’ | Editorial
    The year-long celebration of creativity, commissioned by Theresa May, is not what anyone expected. Will the public take it to their hearts?The House of Commons digital, culture, media and sport (DCMS) committee has decided that it doesn’t like Unboxed – originally seen as a festival of Brexit – which kicked off without much attention this month. Its report on the government’s handling of major cultural and sporting events concludes that the aims of the year-long, countryw
  • Hockney’s Eye: The Art and Depiction of Technology review – old masters meet modern icon

    Hockney’s Eye: The Art and Depiction of Technology review – old masters meet modern icon
    Fitzwilliam Museum, CambridgeDavid Hockney’s work is shown at the Fitzwilliam, Cambridge, in playful and illuminating juxtaposition with the museum’s old masters, viewed through the prism of new mediaCigarette in one hand, paintbrush in the other: David Hockney’s latest self-portrait is as original as ever. He wears a suit of three-colour tweed, what’s more, just to complicate the depiction of the material world. The picture hangs at the door of Hockney’s Eye at the
  • The commercialisation of art and pseudo art, 1967

    The commercialisation of art and pseudo art, 1967
    Everyone was on the bandwagon, not all of them were giftedThe issue of the Observer Magazine of 14 May 1967 was concerned with art and a frankly unnecessary amount of hand-wringing over its commercialisation (‘The art game’).Nigel Gosling’s introduction was waspish: ‘With craftsmanship playing a lower role in art, candidature for acceptance as a serious artist becomes easier and easier. In this situation normal laws and practices of the market place raise their heads, and
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