Meanwhile, the New Yorker focused more on Bacon as anti-establishment, framing their review with a rigorous analysis (in gloriously florid language, obvs) of Bacon’s position in the sweeping tide of 20th Century artwork. Where the Times was shocked and appalled, they were thrilled by Bacon’s raw gore, even if it did leave the reviewer a little lightheaded.
Rather than a review, New York Magazine offered a more historical overview of Bacon’s work, influences, and place in British 20th century art. A fantastic crib sheet for the exhibition.
Are all these reviews scaring you off? As us red-blooded Brits would say, man up! The show can be a little terrifying at times, but that’s the point. The fact that Bacon’s work, over 60 years on, still has the capacity to leave seasoned critics blinking in disbelief is nothing if not a strong recommendation to go and see the work for yourself.