Florence has come to the V&A.
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‘I don’t see why the love between a mother and son should be any different from other kinds of love. Why shouldn’t we be allowed to stop loving each other? Why shouldn’t we be allowed to break up?’
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Tony Tetro’s memoir starts with a bang – or, rather, a bust.
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It is our ability to see a single thing in various ways that Lily Le Brun celebrates in Looking to Sea: Britain Through the Eyes of its Artists.
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The characters in Lynette Yiadom-Boakye’s compelling portraits have been waiting for us.
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We all know nature is balm for the soul, and this show is remarkably soothing.
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The story of modernist art is crowded with women — or rather, it’s crowded with images of women depicted by men.
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This sprawling show offers a heady mix of surprise, disgust and delight.
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When I think of Kamila Shamsie’s Home Fire, I picture a pot boiling on a hob, the water level rising until it spills over the lip and onto the stove.
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Some exhibitions grab you with both hands. Very Private? is one of them, which is fitting, given all the grappling, clutching and caressing taking place on the walls.
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When Eileen Agar was ten, she and her family travelled from Argentina to England, “accompanied by a cow and an orchestra to provide them with fresh milk and music”.
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There’s still some way to go until the gender imbalance is totally redressed, but The Story of Art Without Men, which describes how women achieved artistic excellence against colossal odds, has firmly cracked open the canon.
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It is the 2030s and Ramsgate is mostly inhabited by women; the third and fourth waves of a new virus have killed a disproportionate number of men.
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Cressida Connolly’s new novel begins with a couple of endings.
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Emilie Pine writes about the big things and the little things: friendship, love, fertility, grief; waking, showering, catching the bus.
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In Wreck, artist Tom de Freston asks the reader the same question (“Is it all lost?“) that he asked himself in March 2020, when his studio caught fire and the blaze consumed a career’s worth of work.
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Enter the exhibition and you might feel as if you’ve walked in on a conversation. Sixteen of the thirty-five surviving self-portraits painted in Van Gogh’s final four years, beginning when he was thirty-three, are hung at the same height across two rooms.
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How to review a book that pokes fun at critics? When the protagonist of María Gainza’s Portrait of an Unknown Lady reads reviews, she tends to ‘scan the first five or six lines, skip to the last two or three, and end up thinking, what’s with these people?’
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Julie Otsuka has good rhythm, sentences that move to a satisfying beat. Even as her tone shifts — from tender to funny to cynical to sinister — the beat goes on uninterrupted.
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Light and dark are threaded throughout this spellbinding and sometimes scary exhibition, which focuses on the triumphant final two decades of Louise Bourgeois' long career.
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