Archive

Between 2001 and 2004, Barendina Smedley wrote for  Electric Review, while between 2004 and 2006 she contributed to the blog of the Social Affairs Unit. Her articles from those sites are now being archived here.

[NB: Articles originally posted on Fugitive Ink are NOT included in this archive. To find such articles, please use ‘Search’ or ‘Categories’ on the home page.]

Russian Landscape in the Age of Tolstoy at the National Gallery

Samuel Palmer: Vision and Landscape at the British Museum

The Westminster Retable at the National Gallery

In praise of Tracey Emin (or, at least, an assault on one of her detractors)

Where have all the soldiers gone? Langlands & Bell at the Imperial War Museum

The good, the bad and the beautiful: Luc Tuymans at Tate Modern

Manufacturing a modern master: El Greco at the National Gallery

Henry Rousseau: Jungles in Paris at Tate Modern

Dan Flavin at the Hayward Gallery

Caravaggio: The Final Years at the National Gallery

Rachel Whiteread’s Embankment at Tate Modern

Double Dutch, part 1: The ups and downs of a very flat country

Double Dutch, part 2: Emblems, signs and portents

Double Dutch, part 3: What do the Netherlands mean?

Green and pleasant land: A Picture of Britain at Tate Britain

Self Portrait: Renaissance to Contemporary at the National Portrait Gallery

Heaven on earth: Art from Islamic Lands at the Hermitage Rooms

Babies By The Book: A Personal Journey Through the Literature of Parenting

Over there: Americans in Paris 1860-1900 at the National Gallery

Enchanting the Eye: Dutch Paintings of the Golden Age at the Royal Collection

Liberalism amongst the ruins: Dan Cruikshank and the Lost Cities of Iraq

Fumbling with his zip: Barnett Newman at Tate Modern

Jacob van Ruisdael: Master of Landscape at the Royal Academy

Bloody Brilliant: Aztecs at the Royal Academy

Beyond Criticism (almost): Titian at the National Gallery

The Welfare Show at the Serpentine Gallery

Making Things Happen? The 2004 Turner Prize

Just Looking: Bellini and the East at the National Gallery

The BP British Art Displays 1500-2006 at Tate Britain

Semper Eadem: Elizabeth at the National Maritime Museum

Blasting the Future! Vorticism in Britain 1910-1920 at the Estorick Collection

Saving the King: George III & Queen Charlotte at the Queen’s Gallery, Buckingham Palace

Size Mattered: Henry Moore at the Dulwich Picture Gallery

William Orpen: Politics, Sex and Death at the IWM

Not the full picture: what the media didn’t mention about that stolen Titian

Making Icons: Richard Whelan’s Robert Capa: The Definitive Collection

Human Interest: Making Faces at the National Gallery

Roy Lichtenstein at the Hayward Gallery

Fibs aren’t a feminist issue: Cherie and the cynicism of sisterhood

The Royal Academy Summer Exhibition 2004

Traditional Objectives, contemporary methods: why it’s all right for Tories to feast on the fruits of modernism

The John Madejski Fine Rooms at the Royal Academy

Journey’s End at the Comedy Theatre, London

The Past Isn’t Dead: George Sullivan’s In The Wake of Battle: The Civil War Images of Mathew Brady

I was a teenage barbarian: Roger Kimball’s The Rape of the Masters: How Political Correctness Sabotages Art

Imaginary Battles, Real Wars: Philip Guston at the Royal Academy

Three hours, three helpings of conceptual art

No sunset for the better world he brought us: Remembering President Reagan

Stop telling Bin Laden he won — he didn’t

The Conservatism of Elvis Presley

Ahead of the curve: the Serpentine Gallery Pavilion 2003

Mies van der Rohe at the Whitechapel Gallery

Lucian Freud’s retrospective at Tate Britain

R. B. Kitaj at the National Gallery

Habeas corpus: the old taboos are the best ones

Cruel and Tender: The real in the 20th century photograph at Tate Modern

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