By Sara Bright She stands in the Louvre, a silent storm of Parian marble, drawing pilgrims by the million. They come to gaze upon what…
The history of the floral still life is often burdened by its own domesticity. Relegated for centuries to the realm of the decorative, painting flowers…
By Sara Bright Jean Marais was a face. Not just any face, but one of the great, heroic faces of 20th-century French cinema – impossibly…
When Filippo Tommaso Marinetti’s “Founding and Manifesto of Futurism” blazed across the front page of Le Figaro in 1909, its glorification of speed, machinery, and…
By Sara Bright They were portals. Tucked into wire racks in smoky bookshops or piled high on market stalls, the paperback covers of the 1970s…
By Sara Bright It began, as terror often does, with a polite knock on a hotel room door. A mundane, civilised sound that gave no…
It isn’t merely a drawing; it’s a cartography of the damned, a diagram of despair drawn with the exquisite precision of a Renaissance master. This…
By Sara Bright There are moments when the machinery of the state and the untamable spirit of art collide with the force of a car…
By Tessa Nolan It was a happy accident. A moment of shared frustration at 35,000 feet over the English Channel, a spilt diary, a lament…
In December 1981, the poet and critic Rene Ricard published an essay in Artforum that would permanently alter the trajectory of contemporary art. Titled “The…