“What is a good life?” This axiological question, asked earnestly in the opening lines of James Graham’s The Standard of Living – playing at Theatre Royal Haymarket until December 12 – is often overlooked by the fractured and hyper-specialised discipline of economics.
Whether it’s a mild sniffle or full-blown tears, I always end up feeling a bit ridiculous about the whole ordeal when it’s over. I mean, it’s not real, is it? Why do I waste my grief on things that haven’t happened, that will never happen?
Readers don’t want to read an essay. If they did, they would be scouring SOLO instead of flicking through a newspaper. The majority simply want to know if buying a ticket translates into a fun evening out.
It is effectively government policy that the science student is fundamentally more socially valuable than the artist. Resistance to this mode of thinking...
Acting from a very young age has never been a rare thing in the show business, but very few child stars were introduced to the film industry by being chucked out of a window on their first day on set.
Prostitution, criminality, madness, lust, and squalor. William Hogarth’s collection of paintings and prints at the Sir John Soane’s Museum satirize 18th century urban crudities through graphic pictorial dramatizations and dark wit.
The thing about self-consciously revolutionary art, however, is that it rarely has a particularly long shelf-life. Perhaps this remains most obvious in pieces that are pragmatically revolutionary; demonstration posters, graffiti, propaganda. Things like Guerrilla Girls and posters of Johnson and Trump’s lovechild are destined – designed, even – to become quickly dated.
“How would you describe your music to those who haven’t heard it before? -
Being punched in the face then kissed tenderly.”
Another Sky, a London-based...
Two clear streams run through Patrick Radden Keefe’s Say Nothing– a gut-wrenching tale of intersecting lives at the centre of the Troubles: that of revolution...
Reminiscing about one’s teenage years is a rather cinematic task. After all, Hollywood has made a great profit from narrating stories about what being a teenager should be and feel like.
Kiki Smith is a wanderer. This is the word she uses to describe herself, for she has no desire to seek control over the direction of her work within its creative journey. Yet despite this lack of agenda, it is clear that her art is imbued with socio-political significance.