Photo by Emily Bunder I think the last person I dated was a bit too into alternative girls, something I didn’t notice until after we broke up. Looking back on some of his comments, I felt like a piece of meat being eyed up by an animal. At one point, he joked about being able to "fix me". I brushed it off at the time, wanting to give him the benefit of the doubt because I thought I was falling in love, but what fixing did I need? By then, he had never seen me upset, I hadn't

By Anderson Gill Image by Presha Mehta I had only just walked into the exhibition gallery when I felt the subtle apprehension of being watched. It lingered while I milled around the portraits in the first room, spying on the friends in Lunch looking at a phone, and the Man with Face Creams and Phone Plug looking down at his belongings. Each subject I passed was enveloped in their own locus until I stopped in front of The Bar on East 13th. A person (seemingly male) stands behi

The Almeida Theatre in London just closed its most anticipated play of the year, Golden Boy, leaving great impressions to the public. Directed by Olivier Award winning Sam Yates, the script revives from Clifford Odets, who wrote it back in the 1930s. First premiering with New York’s the Group Theatre, Odets’ Golden Boy was acknowledged with great acclaim, making him one of the most celebrated American playwrights of the century.

A Review of Whitechapel Gallery’s Living Threads Exhibition By Lucy Tappin Figure 1: Vicuña with Quipu Menstrual at her new Whitechapel exhibition. Photograph: David Levene/The Guardian (Khomami) Chilean artist and performer Cecilia Vicuña situates her work in the ‘not yet, the future potential of the unformed. ’Power is found in liminality and transition; to be static is to be contained. Her Living Threads exhibition at Whitechapel Gallery celebrates this sentiment. It reads

Alex Gibney’s Musk is a whopping four-hour chronicle of what could have been a generation-defining exposé.