Michelangelo disdained most artists, but his partnership with Sebastiano produced some of the boldest works of the Renaissance.
Hatherley describes symptoms but not causes; there is plenty of “what” and “where”, some “when”, “how” and “who”, but hardly any “why”.
The Ben Uri gallery's latest exhibition explores 100 years of Jewish art in London.
As part of the Black British Girlhood exhibition, Adama Jalloh created the Identity project to show what's it like for black girls getting their hair done in South London.
Photographs of the 1945 Pan-African Congress in Manchester tell a complex tale of postwar black independence movements.
I've always bought colouring books – but these new, "therapeutic" offerings make me feel faintly distressed.
Though they are rarely operational these days, lighthouses remain culturally powerful and maintain a strong hold on the imagination.
Just before the opening of her new show, "I Think Therefore I #", the artist Celina Teague talks about the difficulty of producing political art, and the effect that social media has on the way we absorb news.
Why when one creative claims to turn his glass into an oak tree, we accept it as a heart-breaking reaction to loss, and when another does the same, it's confusingly pointless?
The artist on Kate Moss, time travel and life after the YBAs.
Her self-portraits have never felt so relevant.
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