Negar Azimi

This oral history, with insights from the publication’s editors and contributors, delves into its mission to shape perspectives on the Middle East

As the artist trains to sail across the globe, his email correspondences with Negar Azimi consider the ocean as inspiration, animism and the ‘boat boys’ of the Caribbean

Negar Azimi on Adnan’s sensuous intellect

Motion and migration in the paintings of Frank Bowling

Can Ralph Rugoff’s ‘May You Live in Interesting Times’ exhibition address histories of narrow nationalism, fascism, and empire head-on?

Negar Azimi visits the Damascus-born artist ahead of her retrospective at MoMA PS1

‘History is full of people who just didn’t,’ reads the first line of her riveting opening essay, which also serves as a sort of statement of intent

‘I know no more perfect portrait of artist and muse’

Inaugurating the field of postcolonial studies, the Palestinian exile’s masterwork has been embraced and misread ever since

In times of political turmoil, art is a necessary rebuke to escapism

A recent show in New York of the filmmaker’s maquettes highlights his insights into contemporary life

Eileen Myles’s new memoir of her dog has much to say about being human

Éric Baudelaire's thoughtful response to the attacks on the French capital

Different approaches to travel writing 

Egyptian surrealism: a case-study in global modernity 

From Werner Herzog to Arthur Jafa: contemporary life, or how to make meaning from fragments

In praise of oral history

Art and the culture of apology

Negar Azimi on Jane Bowles and bell hooks on Beyoncé: what to read this weekend

In the first of a new series of columns, Negar Azimi reflects on trash aesthetics