'We Work Until We Vanish' - the Philip Guston Exhibition at Tate Modern
By Yoyo Hou ‘Probably the only thing one can really learn, the only technique to learn, is the capacity to be able to change.’ -Philip...
Gwen John: Art and Life in London and Paris Exhibition Review
Gwen John: Art and Life in London and Paris Exhibition Review In the same decade that Rodin produced The Thinker (1904) and Matisse The...
Patrick Keiller’s ‘London’ and Homosexual Reminiscings
By Eve Reid “For Londoners, London is obscured. It’s social life invisible, its government abolished […] there is nothing but a civic...
Returning and Remembering: A Review of Good Morning, Midnight
By Mariam Pari Edward Hopper, Automat, 1927. Oil on canvas, 71.4cm x91.4cm, Des Moines Art Center, Des Moines. Digital photograph...
Charting the Evolution of British Political Satire
By Millie Grainger Political satire, a time-honoured tradition of humour and critique, has been an indispensable force in British arts...
I Know Where I’m Going! A Powell and Pressburger Classic Returns to the BFI
By Minna Church “When Joan was only one year old, she already knew where she was going. Going right? Left? No, straight on. […] She’s 25...