After discovering an album of Victorian cartes de visite in an antiques market, Paul Frecker gave up his day job to become a dealer in vintage photographs. Now collected in a new book, these cards were “a photographic craze that seized the imagination of the British public at the beginning of the 1860s,” says the Scotland-based author. “Queen Victoria was one of the format’s biggest fans.” Initially a way of distributing family portraits to friends, the phenomenon soon extended to images of royals, celebrities and larger-than-life characters. “It really was a fervour: crowds often formed to ogle displays in stockists’ windows, to the extent that pavements were blocked and traffic was impeded.”
The painting is on loan for an exhibition that opens this weekend in the Provençal city where the painter became obsessed with the night sky and eventually descended into madness
In September 1888, shortly before he descended into the madness that led him to cut off part of his left ear, Vincent van Gogh completed one of his early starry night paintings. Fascinated by astronomy and the solar system, the insomniac painter had obsessed over the work in his mind, asking a fellow painter: “When shall I ever paint the starry sky, this painting that keeps haunting me?”
Now the scene he finally captured, Starry Night over the Rhône, has been returned to Arles, where he painted it, for the first time in 136 years.
Auction house hit by cyber-extortionist group RansomHub which claims to have sensitive information of at least 500,000 clients
A ransomware hack was the last thing the precarious fine art market needed – but that’s what it got when Christie’s website went down days before it began its all-important 20th and 21st century May auctions in New York.
Guillaume Cerutti, CEO of the French-owned auctioneer, gently called the attack a “technology security incident”. Christie’s posted its auction catalogs on a separate site, the sale went ahead with sales of $640m, and 10 days later the website came back to life.
The photographer got as close as he could when cadets’ endurance, strength and teamwork were tested at Canada’s Royal Military College
Every year, as spring blooms, first-year officer cadets of Canada’s Royal Military College in Kingston, Ontario, take part in a series of competitions. The challenges and obstacle course aim to test their strength, endurance and teamwork.
“As long as you don’t mind getting a little wet and don’t step on any of the smoke canisters, you can get really close to the action,” says Elliot Ferguson, who had captured the event before in his capacity as a news and sports photographer.
George MacKay and Léa Seydoux star in a epoch-traversing sci-fi romance, while the latest Star Wars spin-off has a mystery-thriller twist
The Beast Out now
Léa Seydoux (Blue Is the Warmest Colour) and George MacKay (Femme) star as the couple at the heart of this arthouse sci-fi epic, loosely based on Henry James’s 1903 novella The Beast in the Jungle and spanning three time periods, from director Bertrand Bonello (House of Tolerance).
Relocation of the Wayfarers Chapel on the Pacific coast shows the vulnerability of cultural sites in an increasingly volatile climate
For 73 years it reigned, unique and serene, on a high plateau overlooking the Pacific Ocean: the Wayfarers Chapel, Frank Lloyd Wright Jr’s midcentury reinvention of what a church could be.
The photogenic, see-through sanctuary framed in a canopy of redwoods was beloved long before it became Instagram-famous. Jayne Mansfield was married there, Brian Wilson too. Last Christmas Eve, two weeks after the chapel had been designated a National Historic Landmark, it took three services to accommodate everyone who showed up to spend the holiday with chapel regulars. No one knew it would be the last one.
The perfect post-sundown shot has long proved elusive. But a new book called Night Fever is celebrating the trailblazers who caught not just what the small hours look like – but how they feel
In 2008, the celebrated photographer Dayanita Singh discovered that using daylight colour film stock at night yielded strange results. When she shot at dusk, the photos came out blue. Feeling experimental one night, she decided to leave her camera on a long exposure. The following morning, she woke to discover that she had been robbed. The thieves had taken her cameras and those rolls of exposed colour film from under her bed – with pictures still waiting to be revealed. “Obviously, the camera saw something it should not have seen,” she says.
The photos Singh made next capture the frightening and uncanny sensations this incident triggered. She set about capturing images like a robber might. She wore a headtorch and captured a parrot by its light. She trained her lens on the decorative fluorescent tubes lighting neighbourhood trees and marvelled at the surveillance-footage green they lent her images. The daylight film made indiscernible night colours lurid: the ground turned red, the trees yellow, the sky a galactic indigo.
From ballet-dancing in New York to playing a Bond villain, Trinidad-born brothers Boscoe and Geoffrey Holder led extraordinary lives. But it’s as trailblazing painters of black portraits and nudes that they will be remembered
The first time I ever saw a black male nude was in a Boscoe Holder painting in a private collection in Trinidad. It was beautiful – and so brazen that I wondered whether it broke the country’s lingering Victorian-era indecency laws. I would later discover he had painted hundreds more, many for his eyes only, never intended to be shown in his lifetime.
From Saturday at Victoria Miro in London, many will be shown in a joint exhibition with his younger brother Geoffrey, whose similarly radiant, sensual paintings of black men and women reflect just how far ahead of their time the Holder brothers were. Born in Port of Spain, Boscoe in 1921 and Geoffrey in1930, to an inspired middle-class mother from Martinique and an upwardly mobile Bajan father, the siblings were nurtured in a milieu of what art historian Erica James calls “an incredible generation of Caribbean people”.
Richard Wright hits Glasgow, London Gallery Weekend brings the glamour and fashion photography claims its place as art – all in your weekly dispatch
London Gallery Weekend The capital’s commercial gallery scene perhaps needs this booster celebration that features talks, openings and fun in a host of glamorous venues.
• Galleries across London, until 2 June
Her film Sisters, Saints, Sibyls made people flee and pass out when it was first shown. As it’s screened in Britain, the uncompromising artist talks about self-harm, censorship and the tragic life of her sister Barbara
Whispers, cries and accusing voices. Traumas passed down through the generations, self-harm and suicide – they are all part of Nan Goldin’s Sisters, Saints, Sibyls, a three-screen projection made exactly 20 years ago, now installed in a deconsecrated Welsh chapel in central London. “It is important that it is shown in a church,” Goldin tells me, as we sit together in her apartment in Brooklyn on a spring afternoon.
The story begins like a slide show, telling the story of Saint Barbara by way of a sequence of art-historical images. “They lock her up because of her beliefs,” explains Goldin, “and she manages to rebel and escape and she converts to Christianity and the walls weep and the holy ghost visits her. It’s a great story.” But it ends badly, with Barbara’s beheading at the hands of her father, who is then struck down by a bolt of biblical lightning.
In a new exhibition, artists find new ways to look at and investigate their natural surroundings and how they interact with human stories
The striking collection of photographic art presented in the Carnegie Museum of Art’s Widening the Lens is very much a revision of the long tradition of landscape photography in the US. It may be very directly revising – as in AK Burns’s reinvention of landscape photographs literally ripped from photo books – or it may be much more subtly so, as with Sam Contis’s careful deconstructions of the iconography of the American west. However so, this is a show very much about counter-narratives, hidden histories, reinscription, reinvention, and revision.
Borne of a desire to consider how our relationship with images has shifted as photography has become shockingly more ubiquitous and prolific, Widening the Lens looks at photographs both as singular objects as well as pieces integrated into larger objects. It is a show that strives to be responsive to how the lines between photography and other artistic media have become blurred, and one that seeks to imagine what environmental photography looks like now.
Spike Island, Bristol As sickle cell anaemia attacked his body, the artist made political drawings on X-rays and used his own skin for sculpture
Donald Rodney died as an artist in the ascendant. With Keith Piper, a fellow student at Trent Polytechnic in 1981, Rodney was foundational in the politically acute BLK Art Group, committed to pressing social issues within an art world hung up on form and theory. After the success of his 1989 solo show at Chisenhale Gallery, in 1997 he had an exhibition across town at the South London Gallery (in the year Tracey Emin’s show there was considered career-making). He died the following year, aged 36.
Donald Rodney: Visceral Canker, at Bristol’s Spike Island, is a scholarly survey of the few works that survived a brief career punctuated by multiple hospitalisations and invasive surgery. In a vitrine are 10 of the sketchbooks that acted as a portal back to the creative space of the studio when Rodney was bedridden. Through them he developed a compelling personal iconography. By necessity, most work in this show is the result of long reflection and refinement on Rodney’s part before he had the physical liberty to go about the actual making.
‘He is the ultimate outlaw, one of the most brash and sparkling acts I’ve ever encountered, performing rock albums in a cabaret style. But I wanted this image to be clean, simple and free of narrative’
Provincetown is a fishing village turned art colony at the tip of Cape Cod, a curling peninsula on America’s north-eastern coast. In US terms, it’s an old town, and since the first half of the 20th century, it has been a haven for artists, musicians, queer people and bohemians who descend on the town every summer.
Tennessee Williams lived there, lots of the abstract expressionists holidayed there, and the Velvet Underground played there in the 1960s. There’s a cultural pedigree to the place that has made it a magnet for creative people, including the man in this image, my friend and fellow artist, Billy Hough.
In 1977, Janine Wiedel set out in her VW campervan to photograph potteries, jewellers, coal mines and steel works. It became one of the most important photographic works of its generation
In the last four years, she has survived an aggressive cancer, opened her own art school – and produced stunning work. And she’s just getting started. She discusses sobriety, suffering and second chances
A man and woman are depicted having sex on the huge white canvas: their bodies outlined in blood-red lines, faces barely there, legs wrapped over and into each other like a chain puzzle. Above the couple, and merging with them, are the words: “You keep fucking me,” repeated 12 times in horizontal lines. Look at it vertically and at one point it becomes: “You keep fucking you.”
It could only be painted by Tracey Emin – the scratchy primitivism, the intensity of the act, the words. Words have always been important to Emin. The painting is a celebration of carnality, a howl of emotional abuse and a nod to narcissism. It sums up Emin’s work perfectly.
Tate Britain, London From a sticky Caribbean thunderstorm to the cocaine-fuelled violence of the New York street corner, the artist takes us through the highs and lows of his journey to the present moment
A soundtrack of rain sizzles on a tin roof, interspersed with snatches of music and radio voices struggling against the storm. The shiny tin slung overhead and the bare neoclassical walls compound the echoing reverb of the Duveen Galleries at Tate Britain. I want to sink to one of the rattan sofas grouped about the floor, close my eyes and drift to the noise of the sweltering hurricane season in the Caribbean. It’s enervating. I think of sweat glueing my body to the protective clear plastic cover of the sofa. Maybe they should turn the heating up, to complete the experience.
This is the opening that greets visitors to Alvaro Barrington’s Grace, his three-part Tate Britain commission. The length of the Duveen and its division into three sections invites a narrative approach, a journey in time as well as space. For now, we are in Grenada, in a kind of symbolic, schematic recreation of Barrington’s childhood home, living with his grandmother.
Commercial galleries across the capital open their doors to showcase work by their most important artists, from American football and fountains to porn theatres and Palestine
This weekend (and beyond), commercial galleries all over the city will be showcasing work by their most important artists – and admission is free. Here are 10 great shows to drop in on if you’re in the capital, from a film by Nan Goldin to images of Palestinian youth.
Joe Bloom put an old-fashioned red phone on a bridge and invited random strangers to share their views with the world. The result is an Instagram sensation – even if young people can’t work a landline
Joe Bloom has always admired the art of the phone conversation. “You see it in movies: it’s always this nostalgic and almost glamorous thing, holding a phone up to your ear and talking into this object,” he says. (Ironically, we’re talking over Zoom.) But many of us have cut phone calls out of our lives, losing touch with their otherworldly magic. While we’re perfectly content staring at screens and scrolling through endless content, speaking into the ether has become unnervingly unnatural. And even when we do take a call, it’s usually through earphones on the move rather than by actually sitting down and putting a phone to our ear.
For Bloom, this telephobia is part of a wider trend relating to our increasingly poor connections with each other. “There are a lot of barriers now stopping us from talking in certain ways to each other,” he says. As a young person, Bloom himself struggled with face-to-face interactions. “Growing up I found eye contact really difficult, and it made me struggle talking to someone.”
Now, though, Bloom talks and listens for the sake of art. His Instagram series A View from a Bridge invites strangers walking over London’s bridges to share their thoughts on life through an old-school red telephone, and pairs each recording with an introspective, carefully chosen piece of music. The project has been a hit; just three months since he posted the first video – which featured a man called Jason talking about the dangers of being overly patriotic – the page has amassed 232,000 followers.
Small group of creatives are choosing to stay working in Ukrainian city despite continuous threat from war
Behind a gate presided over by a taciturn doorman, on the shore of the Black Sea in Odesa, is a tumbledown ship repair yard. It is one of many industrial sites in Ukraine that fell into disuse after the fall of the Soviet Union, but in 2016 a community of young artists started cleaning up debris, renovating the old workshops and making studios.
Now, in 2024, when the city is regularly pounded by Russian missiles, its city streets empty of the tourists who once flocked to its historic centre, there are just a handful of artists willing to withstand the continuous threat to life.
Three years ago, Charlie Tallott was in a dark place – and found escapism through his camera. Now the photographer’s blissful, flash-laden images have won a prestigious award
Once Upon a Time in Shaolin, the Wu-Tang Clan album that exists in a single physical copy that was once bought by disgraced pharmaceutical entrepreneur Martin Shkreli for US$2m, will finally be available to hear – if you can get to Tasmania.
The Museum of Old and New Art in Hobart has acquired the album on loan from the digital art collective Pleasr for its upcoming exhibition Namedropping, which will explore status, celebrity and notoriety.
Hauser & Wirth, Somerset This is the retrospective the artist never had in her lifetime, including her last sculpture series. Despite the skilful curation, visitors will yearn for Barlow’s special touch
Phyllida Barlow once said that making sculpture had to be adventurous. “Almost on the edge of being beyond my control,” she said. Almost. Whatever the chaos, she was still in charge. Quite what happens when an artist was scheduled to do a show but is no longer with us to make it is the central dilemma running through Phyllida Barlow: Unscripted, which has just opened at Hauser & Wirth Somerset. It is the first major survey exhibition of Barlow’s work since her death last March, the retrospective she had not had.
Curated with Barlow’s studio staff by former Tate Modern director Frances Morris, the show opens with six statement works from four different decades. They are mid-sized pieces that you can easily walk around, installed soberly, in a bid to get you to draw connections between Barlow’s oeuvre and the art history that so readily sprang from her fingers. It is a bit of an “if you know, you know” setup, though, which is a shame. Still, seeing these important Barlows up close is a thrill.
Museum’s experts realised painter’s Ecce Homo had been misattributed in auction catalogue
Four centuries after it was painted, three and a half centuries after it arrived in Spain and three years after it came perilously close to going under the hammer for just €1,500, a lost, luminous and lovingly restored Caravaggio has gone on display at the Prado in Madrid.
The Ecce Homo, painted in the Italian master’s dark and desperate last years, made headlines around the world after experts at the museum spotted it in an auction catalogue and rang Spain’s culture ministry to share their suspicions that the painting had been misattributed.
An arts centre in the Ugandan capital, Kampala, has given some of Sudan’s best known creatives a chance to work in peace – and find inspiration again
Among the paintings that Nusreldin Eldouma left behind when he fled Sudan is a watercolour portrait showing a Sufi sage, a popular figure from Sudanese folklore. Painted last year – just before Sudan was dragged into war after a power struggle between two factions of the country’s military – it shows the 17th-century sheikh Farah wad Taktook, an icon of peace, says Eldouma. Now he only has photographs to show, the canvases that are his life’s work left behind in the ruins of the city of Khartoum.
Photographs of Nusreldin Eldouma’s work displayed at 32° East (above) and his watercolour of a Sufi man, entitled Inner Peace (below; image courtesy of the artist)
All this matters because the interfaces in question do the job of the dictator and the censor, and we embrace it. More than being infuriating, they train us to accept gross restrictions in return for trifling or non-existent ease of use, or are a fig leaf covering what is actually going on. from The accidental tyranny of user interfaces by Oliver Meredith Cox
Finally, with an exhibition spanning 400 years, female artists are getting their due. How did history get away with depriving us of these artists for so long?
There’s a painting from 1857 called Nameless and Friendless. It’s by Emily Mary Osborn and depicts people in an art dealer’s shop like a theatrical scene. Rain pours outside and men are up on ladders, writing down records, or wearing top hats with their faces lit up as they peer over newspapers, all directing our gaze to the main event.
Standing in the middle is a woman in a Victorian dress. She looks forlorn, worn-down, helpless, exhausted. A small boy stands by her side, far more upright, with rosy cheeks in drastic contrast to hers, which are ghostly pale. She’s waiting nervously for a response from an older man, who stands behind a bureau, inspecting a small canvas. Could this belong to her, or could this be by her? Judging by his curious look, he isn’t impressed.
Guardian investigations correspondent Maeve McClenaghan discusses her investigation into some of the work of the artist Damien Hirst that has been dated to the 1990s, years before it was actually made. Art critic Jonathan Jones discusses the impact Hirst’s work has had on him
The Guardian investigative reporter Maeve McClenaghan tells Today in Focus host Michael Safi about four Damien Hirst sculptures that were made by preserving animals in formaldehyde that appear to have been dated by his company to the 1990s even though they were made in 2017.
Hirst also produced 10,000 paintings for a series called The Currency, each comprising colourful hand-painted dots on A4 paper. It was born from the idea of creating a form of money from art. At least 1,000 paintings that Hirst said were “made in 2016” were created several years later, McClenaghan has also found.
How an Italian designer turned a tired one-bedroom art nouveau flat in north Italy into a modern but cosy home for her teenage family
Manuela Merlo’s house hunt finished almost as soon as it had begun. At her second house viewing, she found a 1920s ground-floor property in Turin that worked its magic. The one-bedroom art nouveau flat featured high ceilings and, at the back, an overgrown but fascinating garden. “When I first saw it the plants were covered with a blanket of snow and two cats were sleeping peacefully,” says Manuela. The tranquil scene was exactly what she was looking for. Located in the Crocetta district, the property is close to the city centre, but secluded enough not to be overwhelmed by the noise of nightlife activities. Manuela and her daughters Sveva, 16, and Costanza, 14, have now lived here for three years.
“When we bought the property in 2019, I had recently separated from my husband,” says Manuela. “I decided it was time for us to find a quiet place where we could put down roots. Fortunately, it is within comfortable walking distance of their father’s house, school and friends.”
Ahead of his major Tate commission, one of the stars of modern art discusses his diverse cultural influences and why his new work will explore his Caribbean and American roots
Before we sit down to talk, Alvaro Barrington gives me a guided tour of his expansive studio in Whitechapel, east London. It stands on the site of one of the country’s first free schools for the poor, which was founded in 1860. As we climb the steps to the upper floor of an ornate two-storey neo-Jacobean building that was once an assembly hall and gymnasium, he talks animatedly about the waves of immigrant workers who settled and transformed the area, from French Huguenots in the 17th century to the Jewish, Irish and Bengali communities that followed in their wake.
“I think of myself essentially as a working-class immigrant and Whitechapel chimes with that,” he says. “The long history of this planet is one of migration and exchange. That is what has given me the most freedom in terms of conceptualising myself and my journey, so I kind of feel at home here.”
From Churchill’s old War Office to Liverpool’s Municipal Buildings, the government and cash-starved local authorities have been selling off valuable assets to plug budget shortfalls. But should pieces of the nation’s soul ever be put up for sale?
Outside the Box is a cafe in the scenic spa town of Ilkley, on the edge of the Yorkshire Dales; a good-natured, relaxing place where you can enjoy a reasonably priced enchilada at the tables that spill out on to the pavement. It’s a social enterprise, dedicated to giving skills and confidence to the people with Down’s syndrome and other learning disabilities who enthusiastically staff it, so as to “release their full potential” and help them lead “more independent and fulfilled lives”. It occupies the Arcade, a glass-roofed, stone-fronted, iron-balustraded Victorian structure that had fallen into disuse until the cafe and its associated administrative rooms moved there in 2019. The building belongs to Bradford council, which recently announced that this and 154 other assets were being considered for sale, in order to plug a gap in the local authority’s finances by raising a hoped-for £60m.
The OWO is a five-star hotel in Whitehall, London, an Edwardian baroque palazzo that was formerly the old War Office – “London’s most storied address”, as the hyperbolic blurb has it. It is run by the Raffles hotel chain, following a six-year “definitive transformation” by the transnational conglomerate Hinduja Group and the investment management firm Onex Holding, for a total project cost of $1.5bn (£1.2bn). Here guests can stay in ornate spaces touched by association with figures such as Winston Churchill, TE Lawrence and Ian Fleming, who all used to work in the building. Prices start at £1,000 a night for rooms and £20,000 a night for “heritage” suites. Or you might buy one of the development’s 85 residences, including a 7,700 sq ft penthouse, for up to £20m.
Serpentine North Gallery, London Best known for her 70s Dinner Table homage to heroic women, the American artist moves centre stage at last in a show of variously blazing, bold, crude, generous work inspired by female subjugation and power
Fierce but gentle, blatant yet often graceful: Judy Chicago’s six-decade survey at the Serpentine North Gallery is not at all as expected. This is partly because of everything that this show omits. There are no death masks, bloody menstrual pads or caustic needlework. There are no gathered-lace vulvas standing in for the mind and art of Emily Dickinson.
Chicago’s most celebrated work – exhibit A in feminist art of the 70s, and once described by Roberta Smith in the New York Times as “almost as much a part of American culture as Norman Rockwell, Walt Disney, WPA murals and the Aids quilt” – cannot be here. The Dinner Party (1979), that vast triangular table, with place settings for 39 great women, above floor tiles citing 999 more, is now too fragile to move from the Brooklyn Museum.
The Indian photographer’s nocturnal studies capture the otherworldly feel of the small hours
For eight years from 2007, Dhruv Malhotra photographed after dark in Indian cities and suburbs. He was, he says, drawn to “the silence, the palpable sense of time and the unknown” as well as the chance “to make visible what is ordinarily dark and hidden”. To begin with, these scenes were uninhabited. He liked the idea of places on the edges of the urban, left alone overnight, waiting to wake again. To achieve his effects he exposed colour negative film over long periods, imprinting otherworldly early hours on film.
About a year into these insomniac studies he took a picture of a night sleeper he chanced upon. Malhotra was living and working mostly in Noida, the New Okhla Industrial Development Authority, a satellite zone of Delhi, which has expanded rapidly since it was created in 1976. After that first picture of the sleeper he made a series, going in search of where people might bed down, staking out likely benches and shelters. Mostly the people he photographed were not homeless. Summers are stifling hot in Uttar Pradesh, and sleeping outside is a regular custom. Some were migrant workers who chose to sleep close to their place of work, others were security guards between shifts. “When photographing,” Malhotra has said of the series, “I’m looking for spaces where the human figure and the urban environment form a symmetry with each other.”
Before, during and after the 1998 Good Friday agreement, Gareth McConnell went around Belfast photographing the sectarian murals that characterise the city’s streetscapes. “The murals are everywhere, and they’re huge,” says the Northern Irish photographer and publisher. “For years now, taxi drivers have been taking people on tours of them.” McConnell photographed murals from both sides of the conflict, but focused on such small details that they are not identifiable. “I wanted to explore the language of form and colour,” he says. “Abstraction as a means of accessing a different kind of spiritual realm, trying to tap into a deeper, more universal understanding.”
The actor on an electrifying production at the Old Vic, her favourite TV show since Succession and one of the best plates of spaghetti she’s ever had
Born in Chennai, India in 1987, Anjana Vasan grew up in Singapore before relocating to the UK to study drama. She has starred in films includingMogul Mowgliand Wicked Little Letters; her stage credits include Tanika Gupta’s production ofA Doll’s House (Lyric Hammersmith, 2019) and Rebecca Frecknall’s A Streetcar Named Desire(Almeida, 2022-23), for which she won an Olivier award and an Evening Standard theatre award. Vasan has been nominated for Baftas for her TV work in Black Mirror and Nida Manzoor’s comedyWe Are Lady Parts; series two returns to Channel 4 on 30 May.
The photographer had to gain the trust of women in south Iran to capture this image
Iranian photographer Forough Alaei has a special interest in women’s rights: she has documented female football fans prohibited from entering her country’s stadiums, and for this project spent a month on Hengam Island. Alaei explains that here, in the south of Iran, “the women have a major role in the economy of the family. While they are very traditional and do housework, they also do fishing and crafts, and have jobs. This is Marziyeh; she’s 38 and a chef in an independent restaurant serving delicious, spicy seafood to the increasing number of tourists in the region.”
Alaei stayed for an extended period in order to gain the women’s trust, and found it easiest to document their lives and work using a phone. “They’re familiar objects,” she says. “Digital cameras can be intimidating or off-putting to people in the small, traditional regions.”
The Mad Max: Fury Road heroine gets an origin story, while Channel 4’s Muslim female punk band returns for a second gig
Furiosa: A Mad Max Saga Out now One of the year’s most anticipated movies sees director George Miller return to the post-apocalyptic world he and Byron Kennedy first created in 1979 with Mad Max. Both spin-off and prequel to 2015’s Fury Road, this new adventure unveils the origins of Imperator Furiosa, with Anya Taylor-Joy in the title role.
With its magnificently tranquil art gallery, its ‘lonely library’ and its pointy white chapel, Aranya is a blissful oasis for burnt-out urbanites – and architecture firms are now clambering to build there
Every summer, since the days of Mao Zedong, the leaders of China’s Communist party have decamped to the coastal resort of Beidaihe to debate the country’s future from the comfort of luxurious seaside villas hidden behind high walls. Four hours’ drive from the distractions of Beijing, it has been a perfect place to escape the capital’s stifling heat, take in the sea air, and conduct secretive conclaves in heavily guarded compounds, in between refreshing dips.
But in recent years, the region has been attracting visitors of a very different kind. On a chilly morning, just a little way south along the coast, the windswept beach is teaming with style-conscious twentysomethings. Crowds of young tourists, wrapped in thick down coats, queue up to take photos in sub-zero temperatures – not next to statues of Mao, but in front of striking works of contemporary architecture.
Photographer Phillip Buehler, who captured the death of the American mall in a 2022 photo series, has a new exhibition of pictures from the last 50 years that trace the often forgotten history of the islands surrounding Manhattan. No Man Is an Island: Poetry in the Ruins of the New York Archipelago is now on show until 23 June at the Front Room Gallery in Hudson, New York.
Source: www.cybertalk.org – Author: slandau By Antoinette Hodes, Office of the CTO, Check Point Software Technologies. The dark web has evolved into a clandestine marketplace where illicit activities flourish under the cloak of anonymity. Due to its restricted accessibility, the dark web exhibits a decentralized structure with minimal enforcement of security controls, making it a […]
180 Studios, London This pounding show explores the magic of collaborations – between musicians and between the worlds of art and music. Our writer gets so deep in the groove he can’t get out
I was so engrossed by Reverb’s first installation I struggled to get past it. Stan Douglas’s Luanda-Kinshasa is a masterpiece of filmed live music, here projected in the long, sloping concrete vestibule of the subterranean warren of 180 Studios. I could easily have sat through all six hours of it. When I did finally drag myself away, I carried its joy through the rest of the show.
Reverb explores collaboration: between improvising musicians; between the worlds of art and music; between producing outfit The Vinyl Factory, which commissioned these installations; and between the artists and pop stars it has worked with. It is also about the profound mystery that is the making and sharing of music.
Two people arrested over theft of José Capelo portraits in Madrid in 2015 – one of which is still missing
Police in Madrid have recovered a portrait by Francis Bacon, valued at €5m (£4.3m), which was one of five works by the famously thirsty and hell-raising artist that were stolen from the home of the painting’s subject almost a decade ago.
The pictures, whose total value has been put at €25m, disappeared in 2015 after a break-in at the Madrid home of José Capelo, a Spanish banker and close friend of Bacon who sat for the painter.
Accredited royal photographer Anwar Hussein’s images, and those of his two sons, each tell a story of the late Diana’s life
From her famous “revenge” dress to the lonely Taj Mahal pose, the late Diana, Princess of Wales knew the power of the photograph, and more often than not the acclaimed royal photographer Anwar Hussein was on hand to help her harness it.
Now some of these images, including ones of her walking through an Angolan minefield and shaking hands with an Aids patient, form a London exhibition by Hussein, 86, an accredited royal photographer for more than 50 years.
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