Gabriel Smith | 11 February, 2018
Upon entering a bookshop, the canny reader/consumer (a heart-breaking slash) becomes aware that critics’ praise now adorns the cover of every newly released book, and therefore no book can be chosen on the basis of what critics are saying on its dustjacket. A massively inflationary adjectival market has rendered superlatives valueless.
Gabriel Smith | 11 February, 2018
Uttara Rangarajan | 21 January
Art museums have long been an elite space, subsumed within hierarchies of colour and class while displaying work made for the rich and powerful. Western art has traditionally worked from within the colonial gaze to present whiteness as the norm, to invisibilise or stereotype people of other ethnicities. In the modern era, as people from around the world strive to break free of these categories, one of the most powerful challenges to western iconography has emerged from music videos which reinvent and undermine the Eurocentricism of western art.
Devika | 26 November, 2018
It was Edgar Allan Poe who said “the death of a beautiful woman is, unquestionably, the most poetical topic in the world”. Poe’s misogynist statement is an accurate summary of the way the figure of Ophelia has been treated for centuries. Appropriated and rendered in multiple art forms, from paintings to dramatic representations, Ophelia is one of Shakespeare’s most iconic female figures. Besides drama, novelists, artists, painters and even pop stars have found inspiration from the dead, floating woman.
Dylan Taylor | 3 April 2017.
With the release last month of the newest entry in the Legend of Zelda series, Breath of the Wild, talk has turned again to the artistry of video games. The idea that interactive entertainment can tell interesting stories, or that it is capable of being considered “art” in the “high-brow” sense of the term, has been a contested one, albeit one which has seen the scale weighted more on the side of the defenders in recent years . Within the field of the humanities, where scholars study what have, in many cases, been widely considered the highest forms of storytelling, how does one make sense of where this newer medium stands? How does one who has grown up with video games and who considers literature—and the art of storytelling itself—to be one of humanity’s highest achievements, come to terms with their appreciation of both?
Kitty Ruskin | 9th January 2017.
Many will remember Gretchen Weiner’s often quoted phrase from Mean Girls that dating friends’ ex-boyfriends is ‘off limits’, as per ‘the rules of feminism’. A few months ago, in the midst of the backlash against Taylor Swift, this line came back to me. I took a moment to consider exactly why Gretchen’s line stands out to me in this context, particularly as a feminist in 2016.
12 December 2016 | Dominic Hale
This poem was written quickly in revulsion, incandescence, disbelief, and horror at present conditions, and the normalising march of recent events. Theresa May’s speech to her delegates on October 5th; Trump on the threshold; the whole unwitty circus.
28 November 2016 ¦ Kate Lewis Hood.
The Anthropocene is the name for a proposed geological epoch that marks the extent of human impact on the Earth’s systems and processes. This impact includes the sharp increase in CO2 levels in the atmosphere, but also other changes which are less widely discussed, such as the transformation of the nitrogen cycle, or the mass extinction of species. Although the Anthropocene Working Group only recommended that the term be adopted officially in August of this year, the Anthropocene has already been taken up as a cultural concept, with implications and possibilities for the arts as well as the sciences.
September 6, 2016 | Sarah Stewart
What difference does a piece of theatre make to people who need hearts and minds to be won and policy to change now? And what impact do Arts events, performances and publications about art have on ‘actual’ human beings?
March 7, 2016 | Harriet MacMillan.
I wrote the above poem in 2012, but it had been in gestation for some time. I first encountered David’s painting The Death of Marat (1793) in 2006; I clearly recall finding the artwork, detailing the French revolutionary’s death in his bath tub at the hands of Charlotte Corday, at once stark and yet curiously sterile. I still retain a fascination with Marat and his murderer Charlotte Corday, described posthumously as ‘l’Ange de l’Assassinat’. I am not alone in my fascination; Corday’s brutal killing of Marat has inspired many artists and writers. But what do artistic acts of rewriting history teach us? Can they ever truly represent those figures who have inspired or horrified us?
February 15, 2016 | Sarah Stewart.
Gardens are a cultural staple the world over. You would be hard put to find a major world religion in which gardens do not feature; the sheer multitude of garden-related metaphors you hear everyday are testament to our language’s continuing reliance on concepts born in gardens, not to mention the prevalence of the garden in literary and artistic traditions. For millennia, gardens have been reflections of divine order on earth; spaces to display status, but, fundamentally, they are places where people negotiate with the land, and other people, in order to thrive. Given their global relevance, what potential do gardens and gardening have to bridge barriers between cultures and people of vast differences in background and experience? Between, say, established British citizens and asylum seekers and refugees?
[tw: discussions of torture]