Opinion

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Once dubbed ‘the world’s factory floor’, Shenzhen has re-invented itself as a centre of innovation 

BY Beatrice Leanza |

Changing shapes and sizes on stage is a good move, but a complicated one

BY Astrid Kaminski |

US true crime series Unsolved takes two formative pop cultural events to explore their concealed human stories and systemic narratives

BY Ian Bourland |

Lynne Tillman on Paul Thomas Anderson's Phantom Thread, a tightly wrought film about a tightly controlled man

BY Lynne Tillman |

The new television series invokes violence and fear as defining forces of civilization, just like the Kenneth Clark original

BY Nathaniel Budzinski |

What the artist’s newly-unveiled chapel in Austin, Texas, tells us about the origins of his practice

BY Evan Moffitt |

The mythic time of comic-book narrative represents a fatal challenge to the film’s transcendent politics

BY Gerry Canavan |

Two controversial events suggest a precarious relationship between China’s culture industry and the state’s soft power project

BY Alvin Li |

Why have women been written out of internet history?

BY Emily Segal |

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

BY Negar Azimi |

With global issues cutting across disciplines, a number of projects are showing where the mixing of art and science can prove productive

BY Tom Jeffreys |

Patrick Grainville's new novel, Cliff of Fools, captures the life of the artist as vividly as his own canvases

BY Jeffrey Zuckerman |

At the Centre Pompidou-Metz, the past year has seen the most extensive survey of contemporary Japanese art outside of the country in 17 years 

BY Edward Ball |

Ignoring its faux-dissident title, this year's edition at the New Museum displays a repertoire that is folky, angry, funny, urgent and poignant

BY Dan Fox |

An insight into royal aesthetics's double nature: Charles I’s tastes and habits emerge as never before at London’s Royal Academy

BY Tim Smith-Laing |

At transmediale in Berlin, contesting exclusionary language from the alt-right to offshore finance

BY Phoebe Cripps |

What makes a commercial exhibition 'museum quality' 

BY Dan Fox |

How documentary filmmakers are experimenting with historical narratives to better understand the present

BY Jessica Loudis |

The limits of multidisciplinarity: from Adrian Piper to the 10th Berlin Biennale

BY Pablo Larios |

The intertwined imaginations of Anthony Powell and Nicolas Poussin

BY Olivia Laing |