“In October 2019, Banksy’s 2009 painting of Devolved Parliament (showing the House of Commons populated by chimpanzees) sold for a record-setting £9.9 million at auction. Banksy has reached the level of Blue Chip Moderns and Old Masters in auction rooms, books of his art are in museum bookshops worldwide and his street paintings are beloved by ordinary people and tastemakers. For anyone who has looked at his art with a sharp critical eye, the question is: how did such banality hoodwink so many people?
“To answer that question and understand Banksy, one has to go back to his native Bristol of the 1980s and early 1990s. To many Bristolians Banksy is a folk hero; to others he is a sell-out. Banksy formed his political outlook in a city that is a hotbed of left-wing attitudes, from community activism and student politics to rave culture and non-conforming lifestyles. It was an obvious place for graffiti to develop into elaborate grand-scale street art. Being an anti-authoritarian progressive is utterly conventional in Bristol. When protesters stand in Bristol’s College Green with signs welcoming migrants they face not riot police or ridicule but sympathetic students…”
“When riding the Tube, passengers sometimes get flashing glimpses of lit side tunnels or abandoned stations. Before they fully register them, the sights are gone and passengers are left with a short-lived curiosity about the hidden life of their primary means of travel about London. The long complex history of the London Underground network has generated a legacy of disused stations, defunct lines and disregarded buildings. Hidden London: Discovering the Forgotten Underground (published by London Transport Museum in association with Yale University Press) presents some of those in pictorial format with extensive explanatory commentary.
“Parts of this story will be familiar to anyone who has disappeared down those rabbit holes of Wikipedia that beckon us when we are killing time. Closed stations, merged stations, tracks abandoned and service tunnels not open to the public are the inevitable by-product of a system that emerged piecemeal under multiple companies since 1863 and has had to serve a vast and changing city. Amateur historians of LU have long applied formidable scrutiny to plentiful available documentation, so there is little in this book that will be unknown to dedicated fans of LU trivia, but for general readers this is an ideal companion to lost elements of London’s underground rail system.
“There is a strange power to encountering these images of lost ages, at once melancholy and sinister. These are time capsules…”
“From the beginning of scheduled commercial flights for the public, designers have used the excitement and liberation of air travel to inform innovative designs. Airline Maps: A Century of Art and Design collects a diverse range of plans and posters in a book that is truly global in ambition. It covers the period 1919 up to 2019 and includes material published for famous airlines of today and yesteryear. The book illustrates posters, sketches and original artwork for promotional material used by airlines.
“The book acts as a history of aviation. We see the birth of commercial carriers using unpressurised biplanes, through the period of colonial consolidation with turbo-prop craft and seaplanes for coastal or island stops through the heyday of national carriers with jet planes up to today’s budget carriers serving tiny regional airports. There is a roll call of lost companies: BOAC, Pan Am, Sabena, Air Ceylon. Imperial Airways embodies in its name and its routes the British Empire as it was it its final decades. Lesser known carriers, such as Iraqi Airways, Hawaiian Airlines, Sudan Airways and Air Jamaica are represented.
“Following the end of the Great War, the large number of aeroplanes and trained pilots found employment in postal carriage and – soon after – providing passenger services for the rich…”
“Last year, troubled by the way a common narrative did not seem to mesh with my lived experience, I set out to assess the obstacles women face in the fine-art world. As we all know, thanks to the tireless work of disinterested campaigners, supplemented by exert academics and repeated by an objective press, women face prejudice in society, including in the arts. Yet the findings of mandatory reporting to the British government purport to show that in 2018 women comprise 56% of the workforce in the UK arts sector, with an unfavourable earnings differential of only 2.6% towards median income women, mainly due to fewer women in top positions. What about the artists themselves?
“Starting in July 2018, for 12 months I collected data from press releases that I encountered as a critic in the form of emails, publisher catalogues, magazine advertisements and notices on specialist websites regarding the international art world…”