Ariane Bankes

Catherine Lampert, 1986

Frank Auerbach: frightened of heights, dogs, driving, swimming — but finding courage through painting

With a career of more than 60 years so far, Frank Auerbach is undoubtedly one of the big beasts of…

Characters from ‘Inside Stories’ by Quentin Blake

'I would find myself forging my own work': Quentin Blake on how he came to found the House of Illustration

Ariane Bankes talks to Quentin Blake about a new project that will bring illustration out of the shadows

‘Untitled (From an Ethnographic Museum)’,
1930, by Hannah Höch

Hannah Höch – from Dada firebrand to poet of collage

I suspect I am not alone in finding it surprising to encounter at the close of this exhibition an unexpected…

Acting as turret gateway: ‘Minster’, 1987, by Tony Cragg

The Lisson show is so hermetic, sometimes we flounder for meaning

The title of the Lisson Gallery’s new show, Nostalgic for the Future, could sum up the gallery’s whole raison d’être.…

‘Bunny Gets Snookered #1’, 1997, by Sarah Lucas

The big tease

Perhaps the greatest irony of many in this first solo London show of Sarah Lucas is that it is sponsored…

‘Record Drawing for Elephant and Rhinocerous Pavilion, Zoological Society of London Zoo, Regent’s Park, London’, c.1971, by Hugh Casson

Exhibition review: The charm and dexterity of Sir Hugh Casson

It is nothing short of a miracle that this aptly titled exhibition could be shoehorned into just two rooms at…


Sculptural conundrums

2012 is proving something of an annus mirabilis for Anthony Caro OM CBE RA, now 88, with no fewer than…


Where dreams take shape

The question of what artists actually get up to in their studios has always intrigued the rest of us —…


Best in show

Penelope Curtis, director of Tate Britain, talks to Ariane Bankes about the planned revamp of the museum and 100 different ways of showing sculpture


Friends reunited

Zanzotti’s in Soho: redolent of surreptitious lunches fondly remembered, with its red gingham cloths and crusted tricolore paintwork, its ‘chianti-in-a-basket./ Breadsticks you snap/ with a sneeze of dust...And Massimo himself/ touring the tables / with his fake bonhomie.’ An old haunt, and the setting, in Christopher Reid’s poem ‘The Song of Lunch’, for a reunion between former lovers, ten years on — or could it be 15?


‘If he couldn’t paint, he couldn’t live’

Ariane Bankes talks to the widow of Arshile Gorky, whose retrospective is about to open at Tate

On the move

Last weekend, as part of Open House London, the Government Art Collection flung open its doors to allcomers, probably some Spectator readers among them.

We will remember

Art and Memory: New perspectives on memorial art
West Dean, Nr Chichester, until 1 November


Virtual trip to the opera

Ariane Bankes on the appeal of live broadcasts on television and in the cinema


Caught napping

Sleeping & Dreaming
Wellcome Collection, 183 Euston Road, London NW1, until 9 March 2008


All points East

Ariane Bankes takes the Trans-Siberian railway and encounters some surprising music and art


The ‘transvestite potter from Essex’

Ariane Bankes talks to Grayson Perry about his work and the judging of the Koestler Awards

The witching hour

Twilight, the witching hour — that tantalising moment on the cusp of day and night when everything seems strange, poignant…

Utter madness or good fortune

Ariane Bankes on an ambitious project to make a handwritten and illuminated Bible