“It seems telling that we need ‘Likes’ taken away from us, even though we view caring about them as gauche and grotesque...”
Curator Ben Broome has brought 15 of his artist mates back to his hometown for this year’s group exhibition.
It’s one of the modding community’s odder recent crazes. But how did an ’80s kids classic become an underground obsession?
Fresh from Party of Five creator Christopher Keyser, Netflix’s newest series is a seductive teen drama asking big questions.
Work from Irving Penn, Steven Meisel, Bob Richardson and more makes the cut in his new book Issues, charting the history of fashion photography.
Curator, writer and art-lover Shonagh Marshall has edited a list of the must-see exhibitions opening this month.
Recent interviews portray Bret Easton Ellis as rather bristly. But then he is an author known for his candour in capturing the depravity of a certain high-flying class of people.
The AZEEMA founder’s round-up casts a light on their blossoming network of creatives. Now, in no particular order...
The Name I Call Myself is the latest film by the 23-year-old artist asking the big questions.
May 1991: In homage to the late John Singleton, director of ‘90s cult classic Boyz N The Hood, The Face unearths an archive feature on the rise of “Black Hollywood”.
It’s the question that comes up most often after any interaction with a famous person. But sometimes, perhaps we’re better off not knowing…
The DJ and radio host recalls the night of dancing that prompted her move to the city.
The Irish actress on her “totally fockin’ exciting” forthcoming role.
Tracking the ethos of “not playing fair”, from Sonic 2 to Sekiro.
The Bronx-born “Godfather of Paparazzi” has been punched out by Marlon Brando, spat at by Sean Penn and taken to court by Jackie O. But retirement? Fuhgeddaboudit!
The actor convincingly plays a recovering heroin addict in Netflix’s new Twin Peaks-inspired psychological drama Chambers.
With its besieged mindset and paranoid sense of constant threat, S. Craig Zahler’s Dragged Across Concrete feels more like a spiritual inheritor of Michael Winner’s Death Wish than 22 Jump Street.
The photographer has been documenting the holy rituals going on in South London's African community.
Director David Robert Mitchell’s surreal LA fantasy is probably beloved by the same people who bang on about the intellectual merits of Infinite Jest.
The photographer on his seminal – destroyed and now unearthed – Living Room prints 28 years on.