The Easel

20th June 2023

The artist who worships stained glass, but detests the modern Church

Clarke apparently faces a “permafreeze of institutional apathy” from British museums. Given his reputation as the world’s preeminent stained glass artist, that’s a shame. He has an illustrious record of architecture-scale commissions and technical innovation and is excited about the medium’s future. That future, he thinks, is not in cathedrals. Despairing of aesthetic interest from the church, the future of stained glass belongs in “the secular urban fabric”. Images are here.

13th June 2023

A New Show in London Is Exploring the Art of Forgery by Presenting Works That Are—You Guessed It—All Fake

Does an artwork have aesthetic value if it turns out to be a fake? London’s Courtauld is well placed to offer an answer as its collection includes a generous number of fakes. Some of these have fooled generations of experts, leaving the show’s curators with an unenviable choice. A fake cannot carry the same meaning as a genuine work. However, if a work is sufficiently affecting, the name of the artist shouldn’t matter. Sadly, in the end, “often we see what we want to see.”