Arts & Culture

Agnes Varda in a scene of the documentary 'Varda par Agnes', 2019

Agnès Varda’s Fruit Salad

Lili Owen Rowlands

4 June 2026

Beneath the whimsy and the wit, Agnès Varda’s films were motivated by contradiction and critique. She said she was always looking for ‘the cliché and what’s inside the cliché’. By the time she died in 2019, at the age of ninety, Varda had herself become a cliché, though this was something she cultivated.

Read more about Againstness: Agnès Varda’s Fruit Salad

‘Dead of Night’

Malcolm Gaskill

4 June 2026

Released​ in 1945, Dead of Night is the most imaginative British horror film of the postwar era. It was produced by Ealing Studios and pioneered the anthology format, much imitated in subsequent decades . . .

A Dose of Duchamp

Hal Foster

4 June 2026

In​ 1973, when a Marcel Duchamp retrospective was last staged in the United States, the critic Lucy Lippard declared that too much was made of him already. More than fifty years later he is still ubiquitous . . .

Illuminated Psalms

Ardis Butterfield

4 June 2026

The Winchester Bible (c.1150-80). ‘A psalm consoles the sad, restrains the joyful, tempers the angry, refreshes the poor and chides the rich man to know himself,’ wrote Niceta of Remesiana, a fourth-century . . .

‘The Stranger’

Michael Wood

21 May 2026

At the end​ of François Ozon’s film The Stranger, the narrator and hero makes a remarkable speech. He does the same, verbatim, in Luchino Visconti’s 1967 movie, and in Albert Camus’s novel L’Étranger . . .

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 brain I find shapes fall apart on me.

Read more about Beware the man whose handwriting sways like a reed in the wind

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.

Read more about Picasso and Tragedy

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.

Read more about Swoonatra

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.

Read more about Is Wagner bad for us?

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.

Read more about At the End of My Pencil

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.

Read more about It’s a playground: Kiarostami et Compagnie

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.

Read more about Noovs’ hoovs in the trough

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...

Read more about The Raphael Question

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...

Read more about Dressing and Undressing

Caxton’s early interest in print was probably commercial rather than technical, that of a publisher rather than an inventor. But his interest in literature ran deep, not only as a reader but also as...

Read more about At Senate House Library: Caxton’s Print Revolution

Willem De Kooning’s Suburb in Havana is a counter-revolutionary painting. Well, of course. It is counter-revolutionary because it is counter everything, versus everything, lost in suburbia. It wants...

Read more about V is for Vagina: De Kooning in Cuba

Printmaker, portraitist, landscape artist, theatre designer and illustrator, William Nicholson slips through the fingers of art historians. This exhibition explores the Venn diagram of his career with...

Read more about At Pallant House: On William Nicholson

Rather than the manifestos and self-conscious rejection of inherited tradition seen in European art, Nigerian modernism – insofar as one can generalise about such a heterogeneous period – saw artists...

Read more about At Tate Modern: Nigerian Modernism

The notion of the Great Composer – the individual genius, whose inimitable music is an expression of a singular mind – still holds sway. By contrast, the men and women who composed the music discussed...

Read more about What the Maths Mean: Chants and Motets

More has probably been written about The Ambassadors than about any other work by Holbein. Is the painting a commentary on the religious divisions threatening to rip apart Christendom in the early 1530s?...

Read more about At the National Gallery: Holbein and Henry James

Time is embedded in the way Mark Jenkin works – not just the occasional resurrection but the hand-cranked cameras and hand-processed film. His method involves hearing the fractions of a second ticking...

Read more about At the Movies: ‘Rose of Nevada’

Sacred Parallelogram: Women Paint Women

Rosemary Hill, 23 April 2026

The careers of Élisabeth Louise Vigée Le Brun and Maria Cosway required constant, delicate calibration to keep the balance between personal reputation, artistic success and the need to earn a living,...

Read more about Sacred Parallelogram: Women Paint Women

In 1983, Brian Wilson told a reporter: ‘I think ultimately I’m just a sound. I don’t know if I’m a human being.’ This boy-child’s story has recognisable stages: he begins in a kind of innocence,...

Read more about I’m just a sound: Back to the Beach Boys

Lam referred to a ‘desire to include in my painting all the transculturation that had occurred in Cuba’ – using a term coined by the Cuban anthropologist Fernando Ortiz to describe the island’s...

Read more about At MoMA: Wifredo Lam Reconsidered

On Soaps

Susannah Clapp, 2 April 2026

I listen to The Archers every night, as automatically as I brush my teeth. Yet the episodes are quite often dull and frequently irritating. The cast has at least one dud actor. Characters are more like...

Read more about On Soaps

If we imagine Gustave Caillebotte’s paintings as depending on what we might call a ‘cruising eye’ – one that focuses on instances of men watching men, and also instantiates the act of watching...

Read more about Men Watching Men: Caillebotte’s Gaze

At the Norton: Rembrandt in Palm Beach

Michael Hofmann, 19 March 2026

What is it with these Dutchmen? Did human subjects not exist before them? Did they write the book on patience? (All those letters being written and read, those prayers being said, those scholars at their...

Read more about At the Norton: Rembrandt in Palm Beach

At the Wellcome Collection: ‘Expecting’

Christina Faraday, 19 March 2026

There is much room for improvement in today’s maternity care, but few in Britain would choose to give birth in 1506 rather than 2026, and an ultrasound, though magical in its way, is more useful than...

Read more about At the Wellcome Collection: ‘Expecting’

At the Movies: ‘Wuthering Heights’

Michael Wood, 19 March 2026

Almost everything about Wuthering Heights – the artistic photography, the heavy orchestral music, the gestures and speech of the actors – signals the ambitions of a director seeking interesting effects....

Read more about At the Movies: ‘Wuthering Heights’

Although she often responded to questions with anecdotes and talked about the role of chance and the necessity of pragmatism, Chantal Akerman was a fine theorist of her own work. She couldn’t understand...

Read more about My Mother’s Prison: Chantal Akerman’s Predicament

Schubert’s​ imagination was unusually literary. Words released music in him: poems about desire, love, loss, solitude, the longing for rest; narrative ballads; philosophical poems; theological poems;...

Read more about Butter wouldn’t melt: Schubert’s​ Imagination

At the National Gallery: Wright of Derby

Clare Bucknell, 5 March 2026

Like darkness, light at its most powerful could disorientate, overpower, blind the senses. Joseph Wright of Derby’s contemporary viewers associated his night pieces with a kind of sublime unclarity,...

Read more about At the National Gallery: Wright of Derby

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