An experimental and hypnotic film made with Super 8, Jarman’s The Last of England is a scathing attack on the state of Thatcherite Britain, homophobia and the treatment of AIDS victims, finds Adam ...

“He takes up the invitation to look, but also takes possession without payment – a visual act of shoplifting.” Curator Stephen Clarke on Too Good To Hide, a new exhibition of photography currently on ...

As he unveils a series of candid portraits of international art figures at play in 1990s Greece — including Tracey Emin, Gary Hume and Grayson Perry – we speak to Johnnie Shand Kydd about responsible ...

Arts and culture organisations have been anxiously waiting for their fates to be revealed this morning, as Arts Council England finally announce who gets the 2023-26 round of ‘National Portfolio ...

Just 8% of people in film and TV identify as being from a working-class background. Can better, more nuanced representation on screen help? Kenn Taylor on Stephen Knight’s This Town… Dante (Levi Brown ...

Tracking a philosophical line across the city, Mike Pinnington reports on drifting purposefully through the 13th edition of Liverpool Biennial… Liverpool Biennial 2025: BEDROCK, proposes, says ...

Psychogeography is more than the psychological effects of the urban environment, argues Maisie Ridgway. Here, she explains why the movement has become a political statement, a seizure of power and a ...

Continuing a run of superb exhibitions, Mostyn Gallery in Llandudno hosts Jeremy Deller’s ode to Welsh culture. Laura Robertson finds echoes of and reverie in many versions of the past, a playful and ...

Colour, line, and the female form converge, as minimalist painter Daniel Halsall (below) exhibits works on paper, inspired by Schiele, Matisse, Picasso and others. With more than 200 works from 85 ...

How do we separate truth from memory? Should we try? A pair of recently published photo books from Stephen Clarke poses intriguing questions about the passage of time, finds Mike Pinnington… Time does ...

How often do we really examine curatorial contributions – not simply to an exhibition, but to the care and display of collections? Mike Pinnington considers ALL THAT REMAINS: A Curator’s Choice at ...