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
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
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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