2012 in review: The New Statesman on... the arts

From Michael Jackson to Martin Amis: the best NS writing on the arts.

Welcome to the sixth instalment of the New Statesman's 12 days of Blog-mas. (Yesterday's round up, of our best interviews, is here).

This summer, the Cultural Olympiad showed off British art to the world, but as autumn arrived the cuts to art programmes made in the spring started to show. Here are some of our best reviews - click the headlines to open them in a new window:

The wizardry of The xx

"It’s as close to magic as you’ll get in Shepherd’s Bush". Sophie Emhirst reviews that rare thing: a shy band.

This gig is a lesson in how you put on a show if you don’t like prancing about on stage or chatting to your fans. You need three things: smoke, lights, a surprise object. The smoke comes first, pumped and billowing long before the trio come out on stage. It all makes sense once the lights go down and a spotlight, swirled with clouds, falls on Romy singing “Angels”. But the lights have their own show to do, building as the bass gets thicker. These aren’t spotlights, or disco swoopers, or strobes, or circling glitter balls. These are lights as walls: wave after wave sweeping over the audience and then twisting back to decapitate the band, their heads in pitch black, bodies illuminated. They keep coming too, these lights, so just when you think the ship has steadied, there they are in different forms – as a fan from ceiling to floor, vertical, a slatted gate of light slicing through the crowd and then as a thumping glare, flashes of full white in time with the beat, so you get moments of screaming brightness followed by black again.

Read all about it: NS Books of the Year 2012

The New Statesman’s friends and contributors choose their favourite books of 2012. Here's AS Byatt's:

Jenny Uglow’s The Pinecone (Faber & Faber, £20) is about the language of carving, objects containing ideas. It is the story of Sarah Losh, a north country heiress in the early 19th century, forceful, learned, independent, who built a church full of fascinating images. The tale is mysterious because Uglow worked with almost no manuscript remains and scrupulously invented nothing. She has turned this central silence into a kind of force by describing stones, glass, things constructed, so precisely that they become not exactly alive but strangely present on the page. Their world – business, weather, politics, poets, marriages, deaths – becomes a revenant around them. I don’t know another book that feels quite like this one.

Review: Sweet Revenge - the Intimate Life of Simon Cowell

Sophie Elmhirst reviews Simon Cowell's biography. She finds it a rocky read.

Bower depicts a young man burning with desperation, reliant on his father for cash bailouts, a figure of industry-wide mockery. (He is perfectly described by a music producer in the 1980s as “not credible. He looked like he was in charge of Easter eggs.”) Eventually, he has a genuine hit (if that’s a fair description of Westlife) and it’s not long before the TV version of Cowell is launched and the money rolls in.

Is "Portrait of a Lady" by Henry James a great American novel?

Sarah Churchwell writes a portrait of the novel.

Henry James once defined criticism as the mind “reaching out for the reasons of its interest”, a process that he deemed “the very education of our imaginative life”. Michael Gorra doesn’t include this quotation in Portrait of a Novel but it is an apt description of the book he has written about James’s The Portrait of a Lady (1881).

George Osborne: the Austerity Chancellor - review

Jason Cowley finds a biographer with an over-developed vocabulary.

Among other irritations, Ganesh has an alarming fondness for the ostentatious or redundant adverb: Britain has a “haughtily opaque state”; Norman Lamont was “elegantly caustic”; Archie Norman, the businessman and former Tory MP, is “sublimely able”; Andy Coulson, the disgraced former News of the World editor-turned-Tory spinner, is “sublimely able”; Alan Clark, the Conservative diarist and libertine, is “famously fleshly”; the civil servant Nicholas Macpherson is “languidly brilliant”; Boris Johnson is “chaotically charismatic”; the Institute for Fiscal Studies is “unimpeachably pukka”; City financiers on their way to work are the “impossibly multinational hordes scurrying from Bank or Moorgate . . . each morning”; Oliver Letwin is “almost uniquely unsuited to practical politics”. Can something be “almost” unique?

Amis and Larkin: Hate in a cold climate

Kingsley Amis’s novel Lucky Jim has its origins in his intense and competitive friendship with Philip Larkin, writes Keith Gessen.

Both young men spent a good portion of their time at Oxford abusing the literature they were supposed to study. “I can just about stand learning the filthy lingo it’s written in,” Larkin wrote to Amis about Old English poetry. “What gets me down is being expected to admire the bloody stuff.” They invented a game called “horsepissing,” in which they’d replace words from classic literary texts with obscenities –“I have gathered up six slender basketfuls OF HORSEPISS,” for example – which they’d write in their own and each other’s copies of famous books. It was a game they never tired of or, indeed, outgrew.

Michael Jackson: The boy in the bubble

Released 30 years ago, Michael Jackson’s album Thriller was the beginning of his assault on the white pop world. Here's Kate Mossman.

No one knew quite what to say when Jacko died in 2009 at the age of 50. Some said they “saw that coming”, which is also what they said about Whitney Houston and Amy Winehouse. It seemed disingenuous – if anything, all three had been conveniently, temporarily forgotten like the mad woman in the attic. Perhaps the world is now ready to accept, all over again, that Jackson was the greatest pop star who ever lived. He broke the race barrier, redefined the pop video and forged a sound so pervasive that it can be heard in the songs of Justin Bieber, Rihanna, Nicky Minaj and a whole host of twenty somethings who were not even born during his glory years. Which brings us back to that kid in front of the TV. The record that achieved all these things was Thriller.

Playing God

Ryan Gilbey on divine presences in the movies.

There have been surprisingly few filmmakers (and actors) willing to put the deity into tangible form on screen. Probably my favourite example is from television. In the “Batteries” episodes from The Sarah Silverman Program, Silverman has a one-night stand with God (Tucker Smallwood). To her chagrin, He’s still there in the morning—and He’s clingy. (Later she uses Him for her own ends when she wants to show up at her high-school reunion and trump her former classmates with her impressive new boyfriend. Perhaps the nicest touch is His little “GOD” nametag.)

Josh Osho: A portrait of the artist in a digital age

"People just want to connect. If I put my heart in it and people connect that’s the most important thing." Alan White on Josh Osho.

There’s a part of yourself that’s omnipotent. That’s the creative moment – you start with something tangible, then you’re almost like a God for a moment, and then you step back, and you’re human again. At that point, you can analyse it and break it down. And quite often I read back something I wrote and don’t understand where it came from. There are all these layers you never saw. It’s like Amy Winehouse – she always starts with something tangible – little conversations, or moments, raises them to the level of art, and then in the ears of her listeners, it becomes something different again.

The 100 most iconic artworks from the last five years

Art website ARTINFO has released a list of the “100 Most Iconic Artworks From the Last 5 Years”. Charlotte Simmonds digests it.

Feminist punk group/performance artists - and recent cause-célèbre - Pussy Riot’s most famous performance saw them perform on the alter at Christ the Savior Cathedral in Moscow - then landed them in jail.

Simon Cowell was once "a young man burning with desperation". Photograph: Getty Images
Photo:Getty
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Why isn't Labour putting forward Corbynite candidates?

Despite his successes as a candidate, the organisational victories have gone the way of Corbyn's opponents. 

The contest changes, but the result remains the same: Jeremy Corbyn’s preferred candidate defeated in a parliamentary selection. Afzhal Khan is Labour’s candidate in the Manchester Gorton by-election and the overwhelming favourite to be the seat’s next MP.

Although Khan, an MEP, was one of  the minority of Labour’s European MPs to dissent from a letter from the European parliamentary Labour party calling for Jeremy Corbyn to go in the summer of 2016, he backed Andy Burnham and Tom Watson in 2015, and it is widely believed, fairly or unfairly, that Khan had, as one local activist put it, “the brains to know which way the wind was blowing” rather than being a pukka Corbynite.

For the leader’s office, it was a double defeat;  their preferred candidate, Sam Wheeler, was kept off the longlist, when the party’s Corbynsceptics allied with the party’s BAME leadership to draw up an all ethnic minority shortlist, and Yasmine Dar, their back-up option, was narrowly defeated by Khan among members in Manchester Gorton.

But even when the leadership has got its preferred candidate to the contest, they have been defeated. That even happened in Copeland, where the shortlist was drawn up by Corbynites and designed to advantage Rachel Holliday, the leader’s office preferred candidate.

Why does the Labour left keep losing? Supporters combination of bad luck and bad decisions for the defeat.

In Oldham West, where Michael Meacher, a committed supporter of Jeremy Corbyn’s, was succeeded by Jim McMahon, who voted for Liz Kendall, McMahon was seen to be so far ahead that they had no credible chance of stopping him. Rosena Allin-Khan was a near-perfect candidate to hold the seat of Tooting: a doctor at the local hospital, the seat’s largest employer, with links to both the Polish and Pakistani communities that make up the seat’s biggest minority blocs.  Gillian Troughton, who won the Copeland selection, is a respected local councillor.

But the leadership has also made bad decisions, some claim.  The failure to get a candidate in Manchester Gorton was particularly egregious, as one trade unionist puts it: “We all knew that Gerald was not going to make it [until 2020], they had a local boy with good connections to the trade unions, that contest should have been theirs for the taking”. Instead, they lost control of the selection panel because Jeremy Corbyn missed an NEC meeting – the NEC is hung at present as the Corbynsceptics sacrificed their majority of one to retain the chair – and with it their best chance of taking the seat.

Others close to the leadership point out that for the first year of Corbyn’s leadership, the leader’s office was more preoccupied with the struggle for survival than it was with getting more of its people in. Decisions in by-elections were taken on the hop and often in a way that led to problems later down the line. It made sense to keep Mo Azam, from the party’s left, off the shortlist in Oldham West when Labour MPs were worried for their own seats and about the Ukip effect if Labour selected a minority candidate. But that enraged the party’s minority politicians and led directly to the all-ethnic-minority shortlist in Manchester Gorton.

They also point out that the party's councillor base, from where many candidates are drawn, is still largely Corbynsceptic, though they hope that this will change in the next round of local government selections. (Councillors must go through a reselection process at every election.)

But the biggest shift has very little to do with the Labour leadership. The big victories for the Labour left in internal battles under Ed Miliband were the result of Unite and the GMB working together. Now they are, for various reasons, at odds and the GMB has proven significantly better at working shortlists and campaigning for its members to become MPs.  That helps Corbynsceptics. “The reason why so many of the unions supported Jeremy the first time,” one senior Corbynite argues, “Is they wanted to move the Labour party a little bit to the left. They didn’t want a socialist transformation of the Labour party. And actually if you look at the people getting selected they are not Corbynites, but they are not Blairites either, and that’s what the unions wanted.”

Regardless of why, it means that, two years into Corbyn’s leadership, the Labour left finds itself smaller in parliament than it was at the beginning.  

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to British politics.