Arts & Culture

Making Media Great Again

Peter Geoghegan

6 March 2025

Paul Marshall’s emergence as a media magnate has surprised many. ‘I totally get UnHerd. That’s who Paul is,’ one person I spoke to said. ‘But I can’t see the purpose of [owning] the Spectator or GB News. Maybe it’s just ego.’ Marshall’s self-definition as a politically homeless classical liberal hardly fits with the man who has spent a fortune on right-wing media outlets.

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On Yoko Ono

Frances Morgan

6 March 2025

Yoko Ono​ has always understood the art – and the absurdity – of playing the long game. In 1989, she told Film Quarterly: ‘Do you know the statement I wrote about taking any film and burying it . . .

‘I’m Still Here’

Michael Wood

6 March 2025

The opening of​ Walter Salles’s haunting new film, I’m Still Here, places us a long way from its later concerns. The shots and action look like an energetic advertisement for Rio de Janeiro as a . . .

Beware the man whose handwriting sways like a reed in the wind

Anne Carson

6 March 2025

This​ is an essay about hands and handwriting. I think of handwriting as a way to organise thought into shapes. I like shapes. I like organising them. But because of recent neurological changes in my . . .

On Marianne Faithfull

Lavinia Greenlaw

20 February 2025

For British music​, 1978 was a year of hesitation. Pop began to admit that it didn’t know what to do with itself as punk evolved into New Wave, which was suddenly on Top of the Pops most weeks. Those . . .

Picasso and Tragedy

T.J. Clark, 17 August 2017

Perhaps, then – though the thought is a grim one – we turn to Guernica with a kind of nostalgia. Suffering and horror were once this large. They were dreadful, but they had a tragic dimension.

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Swoonatra

Ian Penman, 2 July 2015

Sinatra’s sexual charge was like his song: underplayed, tinged with unflappable cool picked up second-hand in the shady cloisters of jazz.

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Is Wagner bad for us?

Nicholas Spice, 11 April 2013

Wagner’s work is everywhere preoccupied with boundaries set and overstepped, limits reached and exceeded.

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At the End of My Pencil

Bridget Riley, 8 October 2009

As I drew, things began to change. Quite suddenly something was happening down there on the paper that I had not anticipated. I continued, I went on drawing; I pushed ahead, both intuitively and consciously. The squares began to lose their original form.

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It’s a playground: Kiarostami et Compagnie

Gilberto Perez, 27 June 2002

A photograph of Abbas Kiarostami in Hamid Dabashi’s book shows him crouching over a frying pan that has two eggs in it. Beside him, and like him focused on the eggs, is the original movie camera invented by Lumière.

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That Wooden Leg: Conversations with Don Luis

Michael Wood, 7 September 2000

‘Studio Vingt-Huit – high up a winding street of Montmartre, in the full blasphemy of a freezing Sunday; taxis arriving, friends greeting each other, an excitable afternoon...

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Noovs’ hoovs in the trough

Angela Carter, 24 January 1985

The true foodie knows there is something not quite ... about a coconut kirsch roulade as a concept. It is just a bit ... just a bit Streatham. Its vowels are subtly wrong. It is probably related to a Black Forest gâteau.

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The Raphael Question

Lawrence Gowing, 15 March 1984

When I used to give a survey course for first-year students, I dreaded December. That was when I reached the High Renaissance and my audience fell away. It was not only the alternative seasonable...

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Dressing and Undressing

Anita Brookner, 15 April 1982

Fashion,​ according to Baudelaire, is a moral affair. It is, more specifically, the obligation laid upon a woman to transform herself, outwardly and visibly, into a work of art, or, at the very...

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At Compton Verney: Portrait Miniatures

Elizabeth Goldring, 20 February 2025

Unlike large oil paintings, miniatures demand to be experienced close up. They had the great virtue of being portable – and, therefore, of helping to create intimacy (or the illusion of intimacy) over...

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Diary: On the Chess Circuit

Nicholas Pearson, 20 February 2025

On​ the morning of 18 April 2023, the chess grandmaster Ding Liren was discussing tactics with his coach. He was due to play game 7 of his world championship match against Ian Nepomniachtchi that afternoon....

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Screaming in the Streets: On Nan Goldin

Lucie Elven, 20 February 2025

Cyclicality – its rhythms, its humour – is central to Nan Goldin’s work. A title such as The Ballad of Sexual Dependency, with its reference to a song, indicates something of the claim the work...

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Not Cricket: On Charles Villiers Stanford

Peter Phillips, 6 February 2025

Stanford was among the first composers in Britain to write church music that was not automatically relegated to the background; and it was Stanford who, through being professor of music at both Cambridge...

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At the Courtauld: Gothic Ivory

Christopher Snow Hopkins, 6 February 2025

The point of the show isn’t to prove that reproductions fail to do justice to the original. The curators argue instead that reproductions have much to tell us about the production of art-historical...

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At the Movies: ‘The Brutalist’

Michael Wood, 6 February 2025

Despite the importance of the architectural meaning of the film’s title, the other meaning, the wrong meaning, is also intimately everywhere, and Brady Corbet does tempt us to believe that nothing and...

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Don’t go quietly: Ken Loach’s Fables

David Trotter, 6 February 2025

It's largely thanks to Loach's example that social realism remains a potent and versatile cultural resource for young filmmakers with something to say about working-class experience in Britain here and...

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On Jean Tinguely

Daniel Soar, 6 February 2025

This is what’s weird about Tinguely: what should be forbidding and abstract – mechanised geometries, industrial detritus – is full of personality. Clearly, people were drawn to him, and he was drawn...

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At the Whitechapel: On Peter Kennard

Brian Dillon, 23 January 2025

Can the art of political photomontage continue to function as print declines and memes both crude and ingenious proliferate?

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Trump has annihilated the idea of charisma. The new leader is not above us. He’s on the screen in our hands. We manufacture him: our fingers are just his size. His rambling, vindictive, uninflected shtick...

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Twinge of Saudade: Abbamania

Chal Ravens, 26 December 2024

Abba became a vehicle for a kind of wholesome perversity, a nonconformist conformism: two picture-perfect couples shattered by divorce; four unimpeachable heterosexuals beloved by multiple generations...

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At the British Museum: ‘what have we here?’

Esther Chadwick, 26 December 2024

Hew Locke asks us to consider imperial power as a grim yet alluring excess of the symbolic, not just as the exercise of brute force. The proliferating connections – from object to object and among the...

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At Camden Arts Centre: On Nicola L.

Jo Applin, 26 December 2024

Nicola L.’s functional objects ratchet up the intensity: her soft sculptures are laced with menace. A tugged-open drawer for a vagina, a grasped nipple for a handle: this is the female body served up...

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Why do architecture and furniture of a century ago still look new, while clothes, cars and even people appear so dated? How did modern design – clean lines, white walls, geometric volumes, open plans,...

Read more about World in Spectacular Light: Bauhaus in Exile

In Camden

Inigo Thomas, 5 December 2024

In no sense was Frank Auerbach a topographical artist. Primrose Hill, Mornington Crescent and the entrance to his studio were his only external frames of reference from the 1960s. Auerbach’s London...

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The global spread of ayahuasca has been driven by two overlapping beliefs in its possibilities: as a life-changing spiritual experience and as a miraculous healing intervention. Both of these bear an at...

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The only certainty about the picture is that it shows Francis Williams. No one has ever been able to discover who painted it, when, where or why. And then, a few months ago, everything changed.

Read more about A Man of Parts and Learning: Francis Williams Gets His Due

At the Movies: ‘Anora’

Michael Wood, 21 November 2024

The first hour of Anora, Sean Baker says, belongs to the genre of romantic comedy. This makes interesting sense if we are ready to reconsider the meanings of romance and comedy.

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