‘Saudi Arabia is a mystery to me. It’s history grudgingly unfolds in fits.’ In the second of our Writing Revolution extracts, Safia Al Ahmad contemplates the protest movement in Saudi Arabia.
In the first of our extracts from Writing Revolution, winner of English PEN’s translation award, Khawla Dunia explores the interplay of subjective experience and objective reportage.
Ritual hazings, sauna parties and missed appointments – how much of an advantage is it to be an art historian researching contemporary artists?
The Rassd News Network has become one of the most influential news sources in the Middle East. Created within an explicitly activist framework, it raises serious questions about the future of journalism.
When it comes to discussing art in newspapers, does the media’s emphasis on provocation merely reduce issues into straightforward oppositions, and at the cost of developed argument and consistency?
Edward Hopper (1882-1967), Sun in an Empty Room, 1963, oil on canvas, 73 x 100cm, Private Collection.
It’s time we started thinking differently about the Weimar Republic.
Unknown artist, Sir Henry Unton, oil on panel, circa 1596, 74 x 163.2 cm, National Portrait Gallery.
Because creativity is so complex, multivalent, and difficult to define, should we, like Mikhail Bakhtin, abandon attempts to theorise these processes?
Perseus in the Wind is the latest instalment in our Freya Stark Collection, and for those less familiar with her travel writing this personal and revealing account is perhaps the perfect introduction.