James Hall

  • Tracey Emin

    Gustave Courbet has a lot to answer for. The Painter’s Studio, 1855, his monumental autobiographical allegory, put the artist right at the center of the universe, and sanctioned the most extravagant kind of self-mythologization. Thirty-two-year-old Tracey Emin may seem a bit young to be opening her own museum, but that is precisely what she has done, having taken a five-year lease on a retail space near London’s Waterloo Station and turned it into a combination artist’s studio, gallery, and shop. The Tracey Emin Museum is open to the public only on Thursday and Friday afternoons, or by appointment,

  • “The British Art Show 4”

    “The British Art Show,” which takes place every five years, is a major survey of recent developments in British art—it’s a bit like the Whitney Biennial, only fewer artists are included, and the show tours around Britain. The new edition has been billed as the most ambitious to date, and this is certainly true if one considers the number of sites and the amount of space allotted to each of the 26 artists. The city of Manchester is hosting the event for the first time, and has provided seven different venues; these range from the City Art Galleries, famous for steamy pre-Raphaelite works, to a

  • Fiona Rae

    Nietzsche’s vision of the creator as a tightrope-walking acrobat seems a particularly apt description of British abstract painter Fiona Rae. At the time of her first solo show, in 1991, Stuart Morgan compared her to a juggler “playing for time,” and Richard Shone continues the circus metaphor in his catalogue essay for her most recent show. Shone seems, though, to be itching to throw Rae a big bouquet, noting that the new work extends beyond the “flirtatious ludic quality” of her earlier paintings, and that this time the “tightrope is long and high, the safety net seemingly miles below.”


  • “Brilliant! New Art from London”

    A DECADE, virtually to the day, since “Treasure Houses of Britain”—a lavish celebration of the “country house experience”—opened at Washington’s National Gallery, its negative mirror image went up at Minneapolis’ Walker Art Center. “Brilliant!: New Art from London”—a brash attempt to present London’s much-touted new generation of art stars in the context of their “inner-city experience”—may well assume the mantle of Britain’s ultimate lifestyle export. Organized by the Walker’s chief curator, Richard Flood, a long-standing champion of adventurous art from both sides of the Atlantic, “Brilliant!”