Tag Archives: The New Modern

Lissie Coleman

RHODRI DELANGES is delighted by a punctual arrival from one of our premier living poets

Only once a year, normally around late September/early October time, does Lissie Coleman send out of her extraordinary poems out into the world; always handwritten, always on the same pages from the same battered notebooks, it is as true a sign of autumn as the falling of the leaves or the sounds of conkers in the playground.

Mr Kurosawa

Hooray for the July Kurosawa retrospective at the NFT says MALAKI HARROD

It’s tremendous news that the British Film Institute is running such a comprehensive review of the influence of his films.  Not least the level of detail that the BFI is bringing to Kurosawa’s work will explode an enormous amount of confused and ill-thought out criticism that this director has received. Continue reading

Parker Banning

SAM JANSEN gets drunk with New York artist Parker Banning

Untitled Circles 8

“In Iowa, in Nebraska, in New Mexico, New Zealand … and I was locked in a cupboard in Haiti”.  Over the course of his thirty-five year career, Parker Banning, the controversial photographer, has been arrested or imprisoned in seven US states and four European countries, he has been through innumerable court cases, scores of aggressive editorials, and has (that he knows of) eleven children (“in nine states!”).

He is, by his own admission, an alcoholic (“unrecovered and unreconstructed”) and an habitual slapper of women (including his second, third and fourth wives) and – by the views of the academy – one of the most important photographers of the post-war era.

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SIMON CONWAY meets artist Romuald Hazoumé


Back in London for a matter of days and modestly disclaiming his most recent prizes (at the Third Moscow Biennale, at documenta 12), his collectors and exhibitors (the Bowies, the Guggenheim, the British Museum) Romuald Hazoumé – dissatisfied, engaged, delighted – is taking a startling new glance at language and art in the global world.

“Yesterday,” he says with a sleepy sigh (his accent, a rich béninois drawl, bounces off the tables), “we didn’t know where we are going, but we know where we are from.”  He looks quickly around at his collection on the walls of the gallery, “today we still don’t know where we are going … but we have forgotten where we are from”. Continue reading


Cream Tea, Dim Sum and Anish Kapoor, by Sam Jansen


There’s lots of splendid meaty stuff for the viewer to enjoy at Anish Kapoor’s exhibition at the Royal Academy: ‘Shooting Into The Corner’ (2008-9), Kapoor’s (maybe) phallic cannon, is getting all the praise it deserves, as is the elegantly sexualised ‘Slug’ (2009).  The central piece, ‘Svayaymbh’ (2007), is conceptually terribly neat and contained, for all its apparent collapse (as such, it’s the very opposite of the Tate Modern ‘Marsyas’ (2002)).  Go, go and see all of it.

However, there remain three elements of Kapoor’s Academy show, none created by him, which require analysis: the Kapoor Dim Sum, the Kapoor Cream Tea and the Kapoor Retractable Biro. Continue reading