The band’s back together. Alfred Molina plays Rothko for the third time in Michael Grandage’s revisiting of John Logan’s richly textured two-hander, first seen at the Donmar in 2009 and then bypassing the West End for Broadway.
What a superb location for a performance! The flats on the north-east corner of Islington Green back onto a crummy atrium from which a staircase leads down to a vaulted, concrete pit (pictured below). A cross between a car park and a bull ring, or a subterranean version of a de Chirico painting, this huge chamber reminded me of the stark designs of the Italian modernist, Aldo Rossi.
It was always my dream to be an artist but I never expected to be a curator. Graduates considering vocations in critical and curatorial practice went to the Royal College of Art or studied art history at university. Not me: I trained at Chelsea College of Art and then went to the British School at Rome where I was the Abbey Scholar in Painting.
Sometimes you come across an artwork that changes the way you see the world. Tacita Dean’s film portrait of the American choreographer Merce Cunningham (main picture) is one such encounter.
What a gallimaufry! The polymath Picasso (1881-1973) was one of the most prolific, obsessed and best-known artists in the history; in fact, without qualification, he remains the best-known, for his genius, his mastery of so many media, his public personal life.
When I was sent to an adult high security prison aged 14 all the normal colour, shapes and movement that I saw around me each and every day as a child disappeared. It wasn’t there. Prison does that; it’s all straight lines, hard on the eye, hard to the touch. There are square walls or oblongs but there are no triangles, no interesting shapes. It was a harsh environment and I was a child, the softness of that child taking all of that in.
The Kabakovs' exhibition made me thank my lucky stars I was not born in the Soviet Union. A recurring theme of their work is the desire to escape – from the hunger and poverty caused by incompetence and poor planning, and the doublethink required to survive under a regime that became ever more repressive the greater and more obvious its failings.
The Royal Academy has a winning line in spectacular exhibitions that have become essentials in London, theatrically and dramatically revelatory presentations in themselves. Here is another winner, the American star Jasper Johns, a collaboration with the world’s newest gallery of contemporary art, the Broad in Los Angeles.
The gallery walls of Tate Britain have been taken down so turning a warren of interlinking rooms into a large, uncluttered space in which Rachel Whiteread’s sculptures are arranged as a single installation. What a challenge! And curators Ann Gallagher and Linsey Young are to be congratulated for pulling off this difficult feat so seamlessly.
James Scott’s filmography is wide-ranging, including the 1982 short film A Shocking Accident, based on the Graham Greene story, which won an Academy Award the following year, and other works on social questions.