HeyJaredDavid McAllister
- Indexed articles, last 90 days
- 5
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- Sep 29, 2026
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- Jul 14, 2026
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And the winner of the Turner Prize is⦠(opens the original)
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The Turner Prize is a strange thing. After more than four decades, its role remains as unclear as ever. What is it trying to do? What audience does it serve? Too small to be representative of the art world beyond these borders, it is nonetheless not quite mainstream enough to stake a claim as a truly national prize. This lack of definition has been so consistent that Iâm starting to think it might be by design. Judging by this yearâs showing, at the Middlesbrough Institute of Modern Art, it
The cosmic paradox of Anish Kapoor (opens the original)
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If there was one word you could use to describe the artist Anish Kapoor, you might confidently plump for “outspoken”. In recent years, he has offered plenty of supporting evidence. He has threatened to sue after United States border agents posed for a group photo in front of Cloud Gate, his famous mirrored “bean” sculpture in Chicago, describing the scene as representative of “fascist America”. He has called on the US to be excluded from the Venice Biennale, alongside Israel and Russia, for its
Richard Daddâs messages from bedlam (opens the original)
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If you were to go no further than the first few rooms in this tightly curated show at the Royal Academy, you would maybe ask yourself how Richard Dadd could have earned himself such a retrospective. Born in 1817 in Kent, but by the age of 17 living just a stoneâs throw away from the National Gallery, Dadd was by all appearances an ambitious if not wholly conventional artist. Not long into his time at the prestigious Royal Academy Schools, where he was taught by JMW Turner and Edwin Landseer, h
Obituary: David Hockney, the painter of pleasure (opens the original)
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David Hockney liked to make things bigger. Starting with A Bigger Splash (1967)—a painting that secured his fame before the age of 30—came an increasing recurrence of the word in the decades to follow: in works like A Bigger Grand Canyon (1998), Bigger Trees Near Warter (2007) and A Bigger Green Valley (2008); and in his 2012 and 2023 exhibitions A Bigger Picture and Bigger and Closer. There’s an obvious question raised by the comparative form—bigger than what?—but the fact Hockney preferred to
The indefatigable nowness of Gilberto Gil (opens the original)
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When musicians from a certain era are still performing past a certain age, there’s a tendency to believe that we need to lower our expectations: nothing could beat the good old days when all this was new and exciting, but the memories evoked of those times might be powerful enough of a reason to go along anyway. But when it comes to the legendary Brazilian musician Gilberto Gil, who turned 84 last month, this could not be further from the truth. At a sold-out performance at London’s Roundhouse l
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