Arts and Entertainment Philip Vaughan has accused the Hayward gallery’s executives of going back on plans to restore his Neon Tower work, right

Gallery criticised over decision not to restore Neon Tower to London skyline

Down by the river; EXHIBITIONS

The Hayward used to be one of London's finest public galleries. Without a permanent director, or any clear direction, it's now a shadow of its former self. What is to be done?


Choice: The critics


Spellbound Six artists and four filmmakers explore the crossover between art and cinema. It's an inspired move in which the works by Hirst (above), Paolozzi and Greenaway are particularly successful. Hayward Gallery, London SE1

ARTS EXHIBITIONS: The eye of the beholder

Two new shows marking the centenary of British cinema explore the links between artists and film-makers. Kevin Jackson reports

Choice: The critics: EXHIBITIONS

Art & Power Well thought-out if over- curated, this exhibition investigates the impact on art of the cultural arrogance of the three key European dictatorships of the 1930s and 1940s. Official art from Germany, Italy and Russia alongside works by artists labelled "degenerate" (right). Hayward Gallery, London SE1; to 21 Jan

Visual arts: pick of the week

Africa: the Art of a Continent

CINEMA : State of the art

Culture clash gets aired 50 years on

DANCE/MUSIC : Iain Gale on exhibitions

Dealers have a habit of presenting us with "forgotten" British artists: painters and sculptors whose work has lain unseen for decades, only now to be "rediscovered" in a blaze of publicity which far outmeasures their true worth. Most would be better forgotten. A welcome exception however, is Morris Kestelman, currently celebrated in a 90th-birthday retrospective at London's Boundary Gallery.

First impressions

In 1874 the first Impressionist exhibition opened in Paris, heralding the advent of a new way of seeing. We all know what happened next: Monet, Renoir, Sisley, Cezanne make a familiar litany to generations brought up on reproductions of poppy fields and haystacks. But what of their contemporaries? As the Impressionists have become increasingly familiar, so the work of the old guard against which they rebelled has fallen further into neglect. A new exhibition at the Hayward Gallery promises to redress the balance. Alongside works by the leading Impressionists hang the paintings you would have seen at the Paris Salon between 1863 and 1890. The Barbizon school, so important to the development of Impressionism, is still evident in the work of Daubigny and Corot, but this is largely an opportunity to rediscover lesser-known artists. Here are such once-familiar names as Jules Noel, Charles-Jules-Nestor Bavoux and Franois-Louis Franais: the crowd pullers of late 19th-century Paris. While it is poignant that the reason for their presence should be to highlight the superiority of their rivals, this exhibition teaches a number of invaluable lessons, not least how much the Impressionist's success depended upon the emergence of the private collector and the commercial gallery.

LETTER :Military-style modern buildings

From Mr Graham Whettam

A leap into the blue

On 26 January 1962 two men stood on the banks of the Seine. One held in his hand a cash receipt for $250 - in flames. The other, the artist Yves Klein, was scattering into the river sheets of gold leaf. "Zone of Immaterial Pictorial Sensibility", in which the collector paid in gold for nothing but space, was Klein's latest artwork in a career which is charted in a new exhibition at the Hayward Gallery. Klein's insouciant disrespect for the art establishment was rivalled only by that of Marcel Du champ. To the general public, he was the Damien Hirst of his day, notorious for his "anthopometries" in which naked women smeared themselves in paint and rolled their bodies over a large floor canvas. Invariably the paint was blue and it is this colour, the most spiritual of the spectrum, traditionally associated with the virgin's robe, that provides the clue to Klein's intentions. Klein's obsession with the "meaning" of blue and the idea of nothingness is explored in an intoxicating melange of monochro me canvases and reliefs, painted sponges, anthopometries, "fire paintings" and photo-documentary evidence of performance pieces. "Come with me into the void", Klein asked his public in 1957, and the invitation still applies. The real void, though, was le ft byhis untimely death from a heart attack in June 1962, at the age of 34. Romantic, visionary, Klein is a legendary hero of modern art. This fascinating expose of his artistic odyssey is not to be missed.

The Broader Picture: A guide to invisible London

The Great Bear is young London artist Simon Patterson's double-take on the London Underground map. First shown in 1992 at the Hayward Gallery's 'Doubletake' exhibition, it is now an icon of Nineties art - a baffling non sequitur, ordinary and strange, funny-odd and funny-ha-ha, brow-furrowing and groovy all at the same time. You certainly couldn't use it to get from A to B, but it seems to suggest you might make your journey more interesting if you did. It asks fascinating questions about modern reality. For example: did Wittgenstein actually have any connection with Westminster? Efforts to look for patterns quickly collapse in the face of the realisation that every station on the Circle Line is named after a philosopher.

Letter: 'Liberator' row

Sir: Your article, 'Liberator unleashes diplomatic row', which appeared in later editions on 12 August, contains a number of inaccuracies.

Edinburgh Festival 1994: Art

Monet to Matisse: Landscape Painting in France 1874-1914 (National Gallery of Scotland, 031-556 8921, Thurs-23 Oct). Not just another Impressionist exhibition. Perhaps surprisingly, French landscape as a separate genre has never been thoroughly surveyed. This show starts with well-known landscapes (such as Notre Dame and the Eiffel Tower), then widens its scope to consider the nature of French country life and the semi-mystical pastoralism practised by artists such as Gauguin and the Fauve group. A lot of rare pictures borrowed from all over the world and some fresh insights from such familiar artists as Cezanne, Bonnard and Picasso.

Centrefold: A slice of life: Art and photography blend at the Hayward

Jeff Wall's 'A Sudden Gust of Wind (after Hokusai)', 1993, captures a moment in time: a rush of air has whipped sheets of paper out of a folder held by a man whose scarf has wound its way round his head leaving him powerless to react to his loss. In the centre of the picture, a smartly-dressed businessman elegantly turns to watch as his hat flies off into the distance, his amusement enhancing the scene with a mood of celebration.
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