There is a confidence that comes from being a part of a larger whole. And yet, group membership invites invidious comparisons: who’s getting it right?
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To some art critics, William Scott's kitchen-table still lifes are too timid – as Roberta Smith wrote in The New York Times, they can be seen as 'abstract paintings for people who don't like abstraction'. Others, myself included, find them enticingly reduced and for the most part easily readable, which is part of their charm.
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The dedication in Eliza Clark’s Boy Parts sets the tone for the tale that follows: “For my mother and father. Please don’t read this.” The novel, a debut by the 26-year-old from Newcastle, will make most readers howl with laughter and/or shut their eyes in horror.
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Stand before a work of art and you're sure to feel something. The recent toppling of monuments associated with slavery and colonialism across Europe and the US is the latest in a long line of more radical reactions.
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As the title warns us, there’s something deeply uncomfortable about Marieke Lucas Rijneveld’s The Discomfort of Evening. The way grief relentlessly nibbles away at a family. The emotional and physical torment inflicted on and by children.
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Before Covid-19 many museums and galleries had begun to integrate digital platforms, but many more have seen that evolution accelerated by the global health crisis.
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As a major Paris exhibition shows Christian Louboutin’s body of work, we talk to the designer about the benefits of owning your own maison, shifts within the fashion industry and how he keeps his label fresh.
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When I was asked to cover the opening of the Albertina Modern, I thought excitedly of squeezing into my 48 hours in Vienna as many visits to the city’s fabled museums and galleries as I possibly could. As I write this, stuck in my flat in London, the situation has changed somewhat.
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Did you know there’s an Instagram account called Tits from the Past? I didn’t, until my stepdad pointed it out to me, which is OK because my mum pointed it out to him.
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New galleries may not be able to afford to take part in major international art fairs, but they also can’t afford not to.
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In her art, Linder tussles with the stories we choose to tell. Born Linda Mulvey in Liverpool in 1954, she emerged with her ambiguously gendered moniker in the Manchester punk scene in the 1970s.
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It’s hard to keep track of the ways in which Picasso’s 80-year career has been examined (and re-examined), but few curators attempt to cover his entire oeuvre. Picasso and Paper does so through the lens of a medium he liked to manipulate.
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Reading Korean author Bae Suah’s Untold Night and Day feels like a tumble into a surrealist painting. Just as you think you’ve found your footing, time melts away and the line between reality and dreams becomes fluid.
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Before answering my questions about his new exhibition at the Whitney Museum of American Art, New York-based artist Darren Bader says that he has a specific (read: irreverent) style and he hopes it’s not too much of an annoyance.
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Louisa May Alcott’s novel has been read obsessively, and the story has also been obsessively retold. What is it about these little women that we seem compelled to revisit them, generation after generation?
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Winter is a time for hibernation, something the unnamed narrator of Ottessa Moshfegh’s third novel knows all too well. The critically acclaimed My Year of Rest and Relaxation tells the story of an art-history graduate in New York who decides to sleep for a year and emerge reborn.
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I'm sitting on a beanbag in a dark room, staring at a split-screen scored with apple-green blips and streaks of light that – much like a heart monitor – record signs of life.
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When the celebrated feminist artist Judy Chicago missed her connecting flight from Dallas to London for the opening of the first major UK survey of her work, she quipped to her team, “Just think of this as practice for when I’m not here anymore.”
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Dóra Maurer’s most recent paintings are nothing if not playful. In the fifth and final room of her first UK retrospective, colours are caught mid-flight.
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