Sheila Heti began compiling a decade’s worth of her own diaries after writing her wildly original and often amusing 2012 novel How Should a Person Be?. She loaded half-a-million words typed between her mid-20s and mid-30s into an Excel spreadsheet, and ordered the sentences from A to Z.
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When British artist Catherine Elwes had a baby in 1983, she soon discovered she was expected to keep her motherhood hidden.
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In the penultimate room of Sargent and Fashion at Tate Britain, there’s a small painting that, to me, encapsulates the entire show.
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The publication of Holly Pester’s debut novel is well timed: the tale of one young woman’s precarious experience of subletting comes in the midst of the UK’s cost-of-living crisis.
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Constance Debré doesn’t believe in art as therapy, but she does believe it can lend a hand in dark times. The French lawyer turned novelist was inspired to write Love Me Tender by her experience of leaving her husband, coming out as a lesbian, and losing custody of her child.
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The middle story in this compassionate collection follows disparate folk loosely linked by a set of steps.
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The first Buckingham Palace fitting fashion designer David Sassoon ever did was a bridesmaid dress for the eight-year-old Princess Anne.
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British artist Maggi Hambling was about seven when a teacher read Oscar Wilde’s children’s stories to her class.
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JJ Levine’s Alone Time 19, taken in 2021, appears to be a conventional portrait of a traditional nuclear family: mother, father, two children, all gathered in a living room.
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Lauren Elkin begins her book about bodily art with a charming ode to the punctuation mark that she in American English calls a ‘slash’ and we in British English call a ‘stroke’.
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Laura Cumming writes about art with a painter’s precision.
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Nothing is too ambitious or outlandish for Artangel, the organisation that has spent 30 years bringing unpredictable art to unexpected locations in the UK and beyond.
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As with all things Ofili, this shimmering Eden is as mystifying as it is hypnotic.
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There’s a lot – a lot of images and a lot of labels – but take your time and you’ll be duly rewarded.
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‘Most of my heroes are monsters, unfortunately,’ Joni Mitchell once said, ‘and they are men.’ The singer-songwriter was able to detach the maker from the made. Should we do the same? Is it ethical? Moral? Even possible?
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In the first film Mouna and Lina Soualem made with their mother, Hiam Abbass, personal attachments went out the window: “There’s no time for that.”
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Jeanette Winterson got a police escort so she could make it to Eleanor Shearer’s birth. What’s followed has been years of advice about building a creative life.
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First impressions are everything, and the opening room of The Rossettis doesn’t exactly wow.
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It’s a cold and dark winter’s day in Stockholm, but within the Moderna Museet it appears as though someone has added a filter that’s warm and bright.
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The crazy cat lady is a cautionary tale”, writes Rhiannon Lucy Cosslett in her absorbing, often amusing memoir.
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