A prominent scientist in the Netherlands believes Vermeer’s Girl with a Pearl Earring isn’t actually wearing a pearl. Here’s how he investigated his hunch.
Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?
A new exhibition a the National Portrait Gallery shows Eggleston's talent for capturing ordinary ecstasies.
John Claridge’s intimate photographs from the 1960s capture a lost world of wonder and possibility.
Apichatpong Weerasethakul’s Primitive 2009, currently at Tate Modern, looked every bit as ravishing as his cinema work, yet it was hard to enjoy while people around me scrolled through their phones.
Art-goers have been enduring three-hour waits for the Yayoi Kusama exhibition, just for a solitary glance at her work. Is queuing part of the experience, or is it just for the Instagram mirror snap?
A new exhibition at Tate Modern reveals how O'Keeffe's personality came to inform her art – and why it's time to consider them together.
Almost every three minutes a photograph of The Switch House is uploaded to Instagram tagged with the Tate Modern Switch House location.
Capturing a celebrity in bed or sleeping is a staple of culture both high and low. Is the “Famous” video just another artistic use of the trope, or is it something more sinister?
Stunning new gallery spaces have opened in London and San Francisco. But which is better – the buildings or the art?
A protest at the Tate Modern proves art continues to court controversy. But do institutions feel stifled by such attention?
We notice you have ad blocking software enabled. Support the New Statesman’s quality, independent journalism by contributing now — and this message will disappear for the next 30 days.
If we cannot support the site on advertising revenue, we will have to introduce a pay wall — meaning fewer readers will have access to our incisive analysis, comprehensive culture coverage and groundbreaking long reads.