Yoko Ono with glass hammer. Photo credit: © Clay Perry A phone rings as we enter the gallery. ‘Hello. This is Yoko.’ It rings again and the message is repeated. And so we pass through into a world of strange music, cryptic events and grainy black and white films; of bizarre objects, bean bags and neatly-typed instructions. One of Landseer’s lions on Trafalgar Square is wrapped in drop-cloths. There’s a tape recording of snow falling at dawn; a stethoscope to listen to time passing; and an apple you can buy for £200 ‘to experience the excite ..read more

Some years ago I was representing the Agency at a dinner marking the 50th anniversary of Haymarket Media Group. A very smart affair in the ballroom of one of the Park Lane hotels, it was hosted by the company’s founder Lord Heseltine. I was attending alone and didn’t know any of the other guests at my table – which was well located, close to the stage. Before too long, as the wine and conversation flowed, we were all getting along famously. After dessert was served, Heseltine announced that there would be some entertainment. I hadn’t been expecting this. And so I was particularly thrill ..read more

“Self-Portrait with Hummingbird and Thorn Necklace” by Frida Kahlo. By Courtesy of Museum of Fine Arts, Boston I recently watched a thoughtful documentary about the life and work of artist Frida Kahlo. (‘Frida Kahlo’ 2020, directed by Ali Ray) Kahlo painted magical realist works that were forthright, beautiful and challenging. And she created a unique identity that was resilient, independent and inspiring. Having endured extraordinary physical and mental turmoil, she demonstrated how creativity can be a vehicle for making sense of one’s suffering. It can be a means of survival.  'I am my ..read more

‘Two little Black kids destined to oppose each other push each other shift each other until they could be formed again.’ I recently watched ‘Shifters’, a fine play by Benedict Lombe now running at the Bush Theatre. (Directed by Lynette Linton. Until 30 March, and sold out I’m afraid. It will be a crime if it doesn’t receive a West End transfer.) Dre: So why are you looking at me like that? Des: How do you know how I’m looking at you when you haven’t looked at me once? ‘Shifters’ is a touching philosophical rom-com that focuses on the evolving relationship between Dre (Tosin Cole), a working ..read more

Hans Holbein the Younger, Mary Shelton, later Lady Heveningham, c.1543? I recently visited a fine exhibition of the work of Hans Holbein at the Queen’s Gallery, London (until 14 April). Holbein painted the Tudor court in soft velvets, shining satins and luxurious furs; in elegant gable hoods, smart caps and expensive jewellery. With compelling precision he conveyed his sitters’ warmth and humanity, confidence and wit. At the show you can marvel at the vitality of his preparatory sketches, in coloured chalk - scribbled, scratched and smudged to achieve his desired effects. I was particularly t ..read more

Claudette Johnson, Trilogy In 1982 the artist Claudette Johnson was creating a portrait for her degree show at Wolverhampton Polytechnic. The woman she asked to model for her, dressed all in black, ‘put her hands behind her head and planted her feet wide – a position of supreme confidence.’  In 1986, now based in London, Johnson asked two other women to adopt poses that reflected who they were. One, wearing jeans and a plain blue sweatshirt, held her head slightly to one side and clasped her hands in front of her. She looked somewhat shy and reserved. The third model, in sharp red trouse ..read more

Auerbach, Self Portrait 1958 I recently visited a small exhibition of charcoal drawings by Frank Auerbach. (The Courtauld, London until 27 May) ‘I feel there is no grander entity than the human being… I would like my work to stand for individual experience.’ The show presents large-scale portraits of the artist’s friends and lovers, and of himself - mysterious heads that loom out of the darkness, mournful and sad. Auerbach seems to be reflecting on the riddle of presence and existence; on the enigma of individual identity. And he teaches us a lesson about persistence in the quest for excelle ..read more

A detail of Francesco Pesellino’s The Story of David and Goliath (around 1445-55) © National Gallery, London I recently visited an excellent exhibition about the Renaissance painter Francesco Pesellino. (The National Gallery, London until 10 March. Free.) Pesellino, born into an artistic Florentine family in 1422, trained with his father and later his grandfather, and then formed partnerships with other artists. He painted panels for devotional and decorative use. And his work, mostly considering religious themes, had bold colours, sensitive characterisation and strong narrative force.  ..read more

Edgar Degas. (Lyda (Woman with the spyglass)). 1869  ·  Gouache  I recently attended an exhibition of works on paper by Impressionist and Post-Impressionist artists. (The Royal Academy, London until 10 March) The show features drawings, pastels, watercolours, temperas and gouaches from the likes of Degas, Cézanne, Morisot and Van Gogh. And it looks at how these late nineteenth century revolutionaries changed the way we regard such work. Traditionally subjects for French art were taken from literature, history, myth or religion, themes approved by the official Salon ..read more

Paparazzi from the 1960 film La Dolce Vita There was a TV news item when I was a teenager. I only half remember the details. Nonetheless I can’t forget it. A crowd of journalists were badgering a senior Scottish legal officer who had recently resigned. There had been a scandal of some kind. The Procurator Fiscal seemed stiff, awkward, uncomfortable in the spotlight. He ignored their questions and made his way to a car. They persisted, jostling him and thrusting microphones in his face. At length someone asked: ‘Did you jump or were you pushed?’ The lawyer paused for a moment and looked up: ‘I ..read more