explosions of colour, shape and texture at the Summer Exhibition

For all it's pretentious elitism, the Royal Academy hosts one of the few truly open art exhibitions; this 246th year they chose more than 1,000 prints and paintings from the over 12,000 submitted. Always there are true masterpieces from the 100+ Royal Academicians and some notable distinguished and foreign Honorary Academicians, like Anselm Keifer and Georg Baselitz. Every room is overflowing and the walls are absolutely covered from floor to ceiling. My first impressions several years ago were similar to the sensory overload of arriving in India. Over the last few years, I have become accustomed to the style of several better known Academicians, such as Sean Scully, Barabara Rae and Tracey Emin. But this year, similar to last, I discovered some new and great talents to watch. My 3 favourites are the bright stylised flowers and fruit of Gillian Ayres, the clean contemporary lines of Michael Craig-Martin and the geometic colours and shapes of Mali Morris. I also love the links between Venice Biennale artists and the uncertainties of knowing who will become truly great in the eyes of the world... And of course, there was an almost hidden masterpiece of film in the final room titled "walking drawings across estuaries" where horses and people make stunning marks in the bare sandy beaches of a northern English estuary.

Malevich- from figures to shapes and back again

It is rare to see the transition of a great artist from figures through abstract to defined shapes and back to enhanced figures. Tate Modern has secured a truly international retrospective that is both aesthetically comprehensive and intellectually complete. Kazimir Malevich was born in Kiev in 1879 and seemed to absorb impressionism, surrealism and cubism in order to define his own geometric style, otherwise known as suprematism. He is recognised as an avant garde leader, with his Black Square being a key contribution. His career spanned a politically unstable period in Russia and was obviously influenced by his European contemporaries. Each of the 12 rooms are distinct and dramatically different from the others. It was great to see his commitment to teaching about colour and form, even using German to move beyond Russia. This room reminded me of the Bauhaus movement but was almost 10 years earlier. I loved the way he predicted the death of painting, but then showed us that he could engineer it's own resurrection...

Ghosts...haunt us all

I was pleasantly surprised to see a London play in the cinema in Oxford; specifically, Richard Eyre’s Olivier-winning adaptation of Ghosts by Henrik Ibsen. I remember studying this play in grade 12 and not being sure I had totally understood it - how could I have, given my very conservative upbringing! I guess my teachers thought they were quite radical, but I am absolutely stunned by how contemporary this play really is, given that it was written in 1881. Helene Alving (Lesley Manville) has dutifully lived a respectable life while suspended in an emotional void after the death of her cruel but outwardly charming husband. She is determined to confront her past and tell her son Oswald (Jack Lowden), the truth about his father. However, she is thwarted, as Oswald returns from his life as a painter in France, demonstrating too bluntly how has inherited the legacy of his father's dissolute life. Although the play is essentially quite dark, it creates a sense of recognition and exhiliration for the freedoms we actually have and a determination not to become bored and indifferent to life.

abstract art amidst the old masters

Only in Oxford could one of the 38 university colleges, Christ Church, have purpose built a small gallery to show and protect donations of over 300 paintings and almost 2000 drawings. There is a strong theme of 14-18th century Italian paintings featuring masters such as Filippino Lippi, Tintoretto, Veronese, Annibale Carracci and Salvator Rosa. There is an overwhelming sense of ornate gold frames, with myriad biblical stories.

But for 3 months this summer, Sean Scully has dispersed 11 abstract paintings and 33 prints amongst the greats. His paintings stand out for their simplicity of coloured rectangles, but they fit in well with the complexity of colours. Strangely, the impression from very strong coloured abstract paintings forced me to look in more detail at the intricate old masters and revisit the stories they were describing. There was an unexpected dialogue across centuries and geography.

Although he was born in Dublin in 1945, Sean lives and works in New York and his abstract art combined colour, rectangles and stripes in a way that transcends words. He overpaints, and cuts out and inserts small canvases within larger ones. But somehow there is a clean simplicity and a clever juxtaposition of colour. I was totally impressed and will definitely seek out more of his work.

modern art in Oxford

Just occasionally, I look for an impulsive hit of inspiration at Modern Art Oxford. Recently their shows have lacked connection or inspiration. And often, as was the situation last weekend, they are between shows! There was just one room open - Metrics by Patricia L Boyd. It was cognitively complex and partially aesthetically pleasing... She presented a range of commissioned sculptures about the everyday spaces in which we work and live. However, I would call the sculptures constructed copies of chairs, tables, desks and bookcases! But the interesting take was they were all covered with a 5mm veneer taken from the floor of the artist's studio - so they were randomly paint splattered! There was another level of complexity which was underdeveloped. Apparently her studio is in central London, and each 'sculptural' construction was named by the address of a local office, shop or cafe. While randomly interesting, this needed another connection - perhaps a photo of the original site or piece of furniture would have made it more meaningful. O well, perhaps enough to get me back next month to see the next show...

Nicole's fall from Grace

Seriously disappointed at Nicole, her director Olivier Dahan and the writer, Arash Amel, in their sloppy and disrespectful portrayal of Grace of Monaco. Anyone can write a historical romance about a Hollywood star falling in love with a European Prince, and create tension about her need to choose between illustrious film roles and her commitment to her husband and children. In fact this is not that big of a storyline anymore! But to use the name of Grace of Monaco and not to reflect accurately history and relationships in the face of her living family is just plain dumb. It is also deceitful to the viewing public. The film parodies Grace's relationship with a weak and synthetic Prince Rainier and expects us to believe that Grace's biggest success is supporting her tax evading Monégasques against the nasty French who were threatening to limit supply of basic utilities unless they paid tax! I really should have listened to the critics, and used my time and money more wisely...

Jimmy's Hall

Back in time and to rural Ireland...to conservative and catholic politics. The director Ken Loach proclaimed Jimmy's Hall as his last film, while in competition at Cannes earlier this year. He adopted the true story of Jimmy Gralton (Barry Ward), an Irish communist who was eventually deported without trial in 1933, for having engaged his local community around a public hall in County Leitrim. However, we meet him determined to settle back to life in his home village, after living 10 years in New York City. It is not long before the townsfolk convince him to bring the hall back to life, and soon, it becomes the focus for education, community events and music. But it was around the music that the tyrannical catholic priest, played by Jim Norton, incited fear and intolerance; confusing jazz with moral decay. I was not sure about the current message of this film. It seems more than a conflict between the narrowminded rulers and the downtrodden masses. But I did enjoy two special relationships; Jimmy revisiting his childhood sweetheart Oonagh (Simone Kirby), and the way his mother, played by Eileen Henry, stands up to the authorities in a stoic and morally reasoned manner...