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