Flora Gilchrist   A main ‘European Art’ display room, Museo Nacional de Belles Artes, Buenos Aires, Flora Gilchrist, August 2025 Impressionism is a mid- to late-nineteenth- and early-twentieth-century art movement that quickly dominated Europe. Originating in France, painters such as Gustave Courbet, Édouard Manet, Charles-François Daubigny, and Claude Monet exhibited together with great success until their final exhibition in 1886. These artists foregrounded a new artistic

Stefanos Carras Saint Takyi, detail from First to be born, first to die, 2026. Photograph by Stefanos Carras  Woven intimately between each other, the works of Ivan Moraes and Saint Takyi carry out a joint exploration of colour, technique, gender and spirituality. Two Shores is a beautiful study into an endlessly unfolding contrast between two artists. Rather than pushing them both apart, the disparities between their works entangle them into deeper conversation.   Ivan Morae

Yuval Aluf Courtesy of Adora Mba I first met Adora Mba on a grey November morning at a quiet café off Ladbroke Grove. Our conversation quickly moved beyond Ghana’s recent visibility in the global art world toward the deeper cultural and structural shifts that shaped it from within. When Adora moved to Accra, Ghana, a decade ago, the artists were already there but the infrastructure wasn’t. "The talent in Accra was enormous. These artists had nowhere to show, so they left.” Ra

Lexie Patterson These photos aren’t about the wealthy, the glamorous, or the posh city folk. Mr Whippys melting on the beach, dodgy sunburns, early mornings on the school run, and cod and chips served in a polystyrene box. Martin Parr’s photographs wryly captured British beauty where most would look away, in saturated colour. Through Parr’s eyes, even grandma’s florals take on a kind of kitsch glory. The Last Resort 23, 1983–86, New Brighton, England. © Martin Parr / Magnum P

Jo Leuenberger Photograph taken from https://www.housebeautiful.com/uk/decorate/a69636544/pantone-2026-colour-of-the-year-cloud-dancer/ . Pantone has announced its 2026 ‘Color of the Year:’ Cloud Dancer, Pantone 11-4201, a rather pallid shade of white. The choice has not been well-received. Choosing white during the latest rise of fascism in the United and Europe has made it a jarring choice, and it’s difficult to believe that no one in Pantone’s executive leadership was info

Nicole Hartwell Le Musee d'Orsay. Photo: Nicole Hartwell The Musee d’Orsay’s exhibition Sargent: Dazzling Paris marks the centenary of the artist John Singer Sargent’s death in 1925. Born in 1856 in Florence, and exhibiting artistic talents from a very young age, with the encouragement of his American expatriate parents, Sargent moved to Paris at 18, enrolling at the École des Beaux-Arts, and later studying under the tutelage of the artist Carolus-Duran (1837-1917). First sh

Lexie Patterson Don’t ditch the New Year’s resolution just yet, there are other you’s to be discovered.  “We’re all playing a part; it’s all smoke and mirrors.” Cindy Sherman, Untitled #479  (1975)  The bells chime. It’s 2026 and the annual theatre of self-reinvention begins again. As the Christmas lights come down and the turkey’s been polished off, we enter the darkest, coldest months of all. Despite the challenging bleakness of this time of the year, we insist that this is

Zoe Smith-Holladay “ The reason why it’s “culture wars” is because that's the terrain that matters. It becomes the proxy for politics because we define our identity, our understanding, our perspective on the world through art and culture.”     Gus Casely-Hayford. Photo courtesy of the Victoria and Albert Museum, London © V&A 2019 Last week, I sat down in the V&A South Kensington’s Members Room with Gus Casley-Hayford OBE, Director of the V&A East and former Director of the Sm

Lexie Patterson Should we rise up and give it up for the standing ovation or is it quite frankly time to sit back down?  Jonathan Anderson’s standing ovation: A triumph. (Photo: Julien De Rosa/AFP via Getty Images)  I have a fraught relationship with the standing ovation. As someone who will always just rise along with everyone else even if I have absolutely detested the show, I have begun to question this embarrassingly near-uncontrollable social programming. Why do I leap t

Alice Ardern-Norris A reliance on images highlights the tension between digital visibility and the irreplaceable experience of the physical object. Jewellery specialist Kristian Spofforth reflects on this tension, and an optimistic future for art and technology. In an age when the internet too often feeds into vanity, misinformation and endless distraction, UNESCO’s new Virtual Museum of Stolen Cultural Objects  offers a glimpse of what our digital world can be when thought,