Marina Vaizey
Bio
Marina Vaizey was art critic for the Financial Times, then the Sunday Times, edited the Art Quarterly, has been a judge for the Turner Prize, and a trustee of several museums; books include 100 Masterpieces, The Artist as Photographer and Great Women Collectors. She's currently a freelance art critic and lecturer. This drawing of Marina as a character from Jane Austen is 40 years old.
Articles By Marina Vaizey
latest in today
Babyteeth review - teenage love and terminal illness in the...
Babyteeth gets off to a terrific start. A semi-naked, manic Moses (Toby Wallace, full of scabby charisma) almost pushes 15-year-old Milla...
Mandy, BBC2 review - Diane Morgan's new creation
Mandy started life in the Comedy Shorts season last year, and has now been given a six-part series. Diane Morgan, who has a...
Project Power - so-so attempt to reinvent the superhero genr...
What if there was a pill you could pop that gave you superpowers? The only catch is that, while it might make you invisible or...
Cara Dillon Live at Cooper Hall, YouTube review - a warm Iri...
Cara Dillon and Sam Lakeman were bringing it all back home when they performed their first live stream concert from Cooper Hall, in Frome,...
Spree review - a wild ride through social media madness
Allergic to that word “influencer”? Afraid that social...
Theatre Unlocked 4: Shows in concert and a contemporary clas...
After months spent sifting amongst the virtual, I'm pleased to report that live performance looks to be on the (socially distanced) rebound. The...
Pinocchio review - wooden heart
This seems a perfect project for Matteo Garrone, a director who has found new ways to conjure old Italian dreams, and invests even his most grimly...
AIM Awards 2020, SBTV review - a game attempt to rewire awar...
Music awards shows are a strange beast: part window display, part industry conference and part party. Especially if you don’t have Brit Awards or...
Charles Owen, Fidelio Orchestra Café review - high-profile,...
Composer Gian-Carlo Menotti once asked rhetorically what society wanted of performing artists – “the bread of life or the after-dinner mint?”...