A History of Pictures by David Hockney and Martin Gayford gleefully punctures the pretentiousness of the art world.
“It seamlessly evokes the period by paying homage to the great photography of the time.”
The wonder of Calder's work with wire, on display at the Tate, is that their beauty makes you laugh.
The Latvian illustrator Signe Baumane, who has made a funny animated film about depression, discusses her family history of mental illness, and being put in a Soviet mental institution.
A dramatic new exhibition at the Jewish Museum reveals the troublesome part that blood has played in the history of ideas.
When Liotard came to England, Sir Joshua Reynolds sniffed at his pastels. A new Royal Academy exhibition shows just how wrong he was.
Goya’s sketched faces are haunting islands of humanity in a sea of guarded aristocrats.
Our cultures show that we can select who we are and who we want to be – but can they also be misused?
Racial diversity in comics has long been a major issue of contention, and after a summer of controversy it’s clear the industry can do better.
The art critic who contains multitudes.
Without even looking at Sutherland’s portrait, Churchill decreed it “a remarkable example of modern art”, cue much sycophantic laughter from his parliamentary colleagues.
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.