©Peter Aspden
Peter Aspden
6:28pm
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© The Financial Times Ltd 2013 FT and 'Financial Times' are trademarks of The Financial Times Ltd.
©Peter Aspden
Peter Aspden
6:28pm
LIFE & ARTS ARCHIVE
Lydia Davis, winner of the 2013 Man Booker International prize for fiction, interviewed by Emily Stokes in 2010
AG Lafley, who has this week been reappointed as chairman and CEO of Procter & Gamble, talks to Elizabeth Rigby in 2008
©Mike Dodd
TRAVEL
May 24, 2013
Great Drives: Italy’s Mille Miglia
In the final part of our series, Sam Knight joins the Mille Miglia in Italy, once a death-defying race and now ‘the world’s flashiest classic car meeting’
Nigel Andrews
from
ARTS
6:21pm
Cannes communiqué
The latest from the film festival – and our critic’s Palme D’Or favourite
©James Turrell
ARTS
6:23pm
Interview: James Turrell
The American artist who has made light his medium talks to Jonathan Griffin as he prepares for this summer’s triumvirate of retrospectives
©Catwalking
STYLE
6:26pm
It’s tea time (again)
The full-skirted, floral, feminine dress from the 1940s is making a comeback
©Wellcome Images
BOOKS
6:24pm
Mind field
Known as the ‘psychiatric bible’, the Diagnostic and Statistical Manual of Mental Disorders appears in a fifth edition this month. Talitha Stevenson explores the controversies surrounding its release
TRAVEL
6:24pm
Dazzled by Doha
Art and architecture are turning Qatar into much more than a place to change planes, writes Claire Wrathall
BOOKS
6:23pm
Auster and Coetzee, by letter
An old-fashioned literary exchange enlightens and entertains. Ian Thomson reviews ‘Here and Now’, by Paul Auster and JM Coetzee
ARTS
6:39pm
The Art Market: first they took Miami, now they take Hong Kong
Basel brand hits HK; one fair in, one fair out in California; massive deflation for sculpture
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house & Home
©Maija Holma/Alvar Aalto Museum
Through the keyhole of architects’ homes, from Gropius to Aalto
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Sir John Richardson
The 89-year-old art historian, best known for his biography of Pablo Picasso, talks about Larry Gagosian, low self-esteem and the tyranny of academic art criticism