1. London by light

Tate Britain, 3 May 2017

Today I went to Tate Britain to see the David Hockney exhibition. He is brilliant, iconic and part of our world, but I found the show disappointing as regards the actual presence of the paintings. Almost every painting felt no better than its reproduction. The best buzz for me, however, was in Hockney’s ipad works.

And in answer to Langdon Jones’s question about the cheap u s viagra strength that he’s perceived in the later Hockney landscapes I said this: ” Yes, Lang. And my favourites of his early works too were there, but here is get a coupon to try viagra exactly my argument. We know the works in reproduction and the quality of reproduction is excellent, the best our present world can produce. It’s almost as though this artist knows exactly how to construct a strong sense of presence for the transition of a work into reproduction. Even the hugeness of best generic viagra size, didn’t for me, make the work stronger than in its secondary life.”

As regards the presence of paintings that shine stronger in their originals, I found some in “Queer British Art 1861 – 1967″. For instance, Laura Knight’s “Self Portrait” projected right across the buy levitra professional room. It’s a perfect example of the real work being way stronger than any reproduction.

And each of the paintings by Edward Burra, was more vibrant in real life than its image in books.

Also I was quite enchanted by Cerith Wyn Evan’s neon light installation in the long Duveen Galleries.

Tate Britain, Cerith Wyn Evans aa