Writing about colour in the LRB archive by Ian Hacking, Anne Enright, John Kinsella, Alison Light, Julian Bell, David Garrioch, Emily LaBarge and Stephen Mulhall.
Marshall’s work stirs up thoughts that don’t settle. Here’s discursive jujitsu, a categorisation flipped backwards. Here’s an artistic contender intent to brand his act. Here’s a fresh and unfamiliar offer to the retina. You’re kept alert, wondering how best to respond.
Francis Picabia, ‘Tete de femme’ (c.1941-42)© The Estate of Francis Picabia. Courtesy Michael Werner Gallery. For a long stretch of her long life, Jean Rhys was thought to be dead: drowned in the . . .
On Sundays, as a child, I accompanied my mother and siblings to the parish church at Lingfield in Surrey. The services meant very little to me, though my curiosity was awakened by the preference in . . .
What’s new? An old song begs our pardon for asking that. Guillermo del Toro’s new film, Frankenstein, is too busy to bother with such a query, but it’s aware of its own prehistory. It knows, for . . .
One of the most striking images in Resistance, Steve McQueen’s survey of protest photography in 20th-century Britain (at Modern Two in Edinburgh until 4 January), is a blurry, black and white shot of . . .
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 brain I find shapes fall apart on me.
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.
Sinatra’s sexual charge was like his song: underplayed, tinged with unflappable cool picked up second-hand in the shady cloisters of jazz.
Wagner’s work is everywhere preoccupied with boundaries set and overstepped, limits reached and exceeded.
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.
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.
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.
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...
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...
Writing about colour in the LRB archive by Ian Hacking, Anne Enright, John Kinsella, Alison Light, Julian Bell, David Garrioch, Emily LaBarge and Stephen Mulhall.
Writing about the press by Andrew O’Hagan, Ross McKibbin, Jenny Diski, James Meek, Suzanne Moore, Mary-Kay Wilmers, Alan Rusbridger, Thomas Nagel and Raymond Williams.
Michael Wood looks at how Fritz Lang uses sound in his first two sound films, M (1931) and The Testament of Dr Mabuse (1933).
Nicholas Penny looks through the letters of Prince Hermann von Pückler-Muskau, who visited England in the late 1820s.
Claire Denis and J. Hoberman join Adam Shatz to talk about the work and legacy of Jean-Luc Godard.
Rambunctious and often offensive, R. Crumb draws freely on pre-existing racial and gender stereotypes, and always draws in the first person. Unlike any previous comic-strip artist (but not unlike a stand-up...
The portrait that I came across so unexpectedly at Frieze Masters doesn’t have the prestige of the Van Dyck or the special interest of the self-portrait, but it is the image that comes to mind whenever...
Carl Gustav Carus made copies of paintings by Caspar David Friedrich, or sought out the locations he had painted, producing works that are so close to the originals that they were often mistaken for them....
The title seems a little tame if you haven’t seen the movie. L’Histoire de Souleymane: Souleymane’s Story (or History). For once the problem or the fun has nothing to do with the double meaning...
Beyond or beneath the theatrics there is a disconcerting sense that something much more serious is going on, that all the hokum and stage magic might be misdirection of the sort that enables something...
Jean Epstein compared going to a movie to entering a state of hypnosis, an aesthetic experience that ‘modifies the nervous system’ much more than reading does. And it would be perverse to deny that...
It is on the border between the ordinary and the peculiar that Martin Parr likes to work. He points out, more than once, that what is commonplace now will one day be remarkable. Too often the texture of...
The mummy portraits are stunning. Their production began around 30-40 ce, sixty or so years after the defeat of Antony and Cleopatra at Actium and the beginning of Roman rule. This brought to an end almost...
Avigdor Arikha became the archivist of the everyday: not, it seems, because he sought out the ordinary but because each day invited his urgent attention. He spoke about ‘lying in ambush’ until a subject...
The film frame is both Walter Murch’s canvas and his found object. In his editing suite, whether mechanical or digital, he is painting with light and sound, looking for the emotional narrative ‘hook’...
In the late 1960s, the critic Bevis Hillier invented the term ‘Art Deco’ for the commercial architecture of the 1930s – it was used by nobody in that decade. Mid-Century Modern would have been called...
A passive-aggressive ‘lying flat’ attitude is easily dismissed as laziness, but Gen Z-ers have developed a philosophy to counter the accusation. Praising idleness sounds last century; instead, they...
The snapshots in my father’s book were taken during his first three years in London, after he emigrated from New Zealand with my mother. The picture shown here was taken at a Stepney street market....
Cellists and violinists in particular are haunted by the musicians who played their instruments before them and those who had taught these ancestors. Even new instruments bear the marks not only of their...
This show has excited controversy: should we even be talking about damage to antiquities in the context of so much killing? The show’s maps dating from earlier this year, however, make it clear that...
Highest 2 Lowest is a remake of Akira Kurosawa’s High and Low (1963), which is a loose adaptation of Ed McBain’s novel King’s Ransom (1959). But Spike Lee turns it into a genuine scamper, where the...
Ruysch was a meticulous observer of nature, an artist whose insects seem real enough to buzz out of their frames. But her most innovative compositions have an unlikely aspect, a touch of the improbability...
Paintings – or perhaps, in the first instance, prints and reproductions – seem to have attracted Henry Clay Frick from a young age. When, in the early 1870s, he applied for a loan from a Pittsburgh...
Read anywhere with the London Review of Books app, available now from the App Store for Apple devices, Google Play for Android devices and Amazon for your Kindle Fire.
For highlights from the latest issue, our archive and the blog, as well as news, events and exclusive promotions.