ART BASEL HONG KONG 2024: WHERE IS ALL THE GOOD ART?
SHOULD WOMEN STOP PAINTING WOMEN? WHAT SOTHEBY’S MODERN AND CONTEMPORARY SALE TELLS US ABOUT ART MARKET ATTITUDES TO FEMALE ARTISTS
- Feb 22
YORGOS LANTHIMOS’ 'POOR THINGS': WHEN DID SEX SCENES BECOME A BAD THING?
- Feb 13
"FEMINISM BEGINS WITH SENSATION": ANNA PERACH AT GASWORKS ULTIMATELY FALLS FLAT
OPINION | SOUPGATE: NOT FAR ENOUGH?
- Oct 5, 2023
OPINION | WHY ARE WE STILL PRETENDING VIVIENNE WESTWOOD WAS PUNK?
- Jun 25, 2023
REVIEW | THE NATIONAL PORTRAIT GALLERY IS IN PORTRAIT POVERTY
- Jan 26, 2023
THE UNLUCKY POLITICS OF GOOD LUCK TO YOU, LEO GRANDE
- Mar 23, 2022
NFTs AT AUCTION: SO WHO'S ACTUALLY BUYING THIS STUFF?
- Mar 15, 2021
OPINION | FUCK OFF, LIN-MANUEL MIRANDA
- Feb 27, 2021
FROM AUTISM TO ART: THE FUTURE OF NFTS
- Feb 6, 2021
REVIEW | CYBERPUNK ATTEMPTS EVERYTHING AND ACHIEVES NOTHING
- Feb 20, 2020
COCAINE, CHAOS AND COLOURBLOCKING: INSIDE THE INSANITY OF LONDON FASHION WEEK
- Feb 13, 2020
OPINION | THERE IS MUCH TO FEAR EVEN WITH LITTLE TO HIDE: FACIAL RECOGNITION HAS NO PLACE IN LONDON
- Feb 6, 2020
ARTificial INTELLIGENCE | THE WEIRD WORLD OF AI ART
- Dec 30, 2019
OPINION | DETESTING DESIGNERS IS NOT DIFFICULT | A RESPONSE TO KIDULT & CONTEMPORARY "ARTIVISM"
- Dec 8, 2019
OPINION | THE ART BASEL BANANA REALLY ISN'T THAT BAD
- Dec 2, 2019
THE BANNING OF BLUE STORY | AN ATTACK ON BLACK YOUTH CINEMA?
- Nov 25, 2019
WHO'S AFRAID OF NAN GOLDIN? | THE INTERSECTION OF SIRENS & SACKLER
- Nov 13, 2019
STILL NO IDEA: THE POLITICS OF DISABILITY IN BRITISH THEATRE AND FILM