Gillian Wearing: people person

A quietly subversive or unexpected take on ‘ordinary’ subjects has characterised the artist’s work for nearly two decades. Her latest project is no exception

‘Upstairs at the Party’, by Linda Grant

Idealistic 1970s youth gives way to disenchantment. Review by Peter Aspden

A mosaic of assassin Gavrilo Princip and other members of the Young Bosnia movement in Andricgrad
©Matt Lutton/Boreal Collective

The town that Kusturica built

A century after Gavrilo Princip fired the fatal shot in Sarajevo, Serbian director Emir Kusturica talks about Andricgrad, his ‘monument to peace’

To boldly go where no art has gone before

The point of the most ambitious art is to take us to places we would not have imagined

Filthy lucre – outrage sells

There is a symbiosis of interests between the business of art and the daring of artists

Es Devlin at home with her piano
©Christian Sinibaldi

Interview: stage designer Es Devlin

With credits ranging from the Royal Ballet to Kanye West and the Olympics, the designer Es Devlin talks about ‘mixing it all up’

MF Husain’s triptych ‘Three Dynasties’ from his series ‘Indian Civilisation’ (2008-11)

MF Husain at the V&A

Patron Usha Mittal talks about the paintings she commissioned from the late Indian modernist

Through the shock barrier

‘Every society needs that moment of outrage, that Tate bricks moment’

Yancey Strickler, co-founder Kickstarter
©Gino Sprio

Interview: Yancey Strickler of Kickstarter

We are all patrons of the arts now, says the 35-year-old CEO of the crowdfunding website. It has raised $1bn in five years to finance 60,000 creative projects – by both unknowns and high-profile artists such as Spike Lee

Faith, hope and video

‘Art has lots to gain from being housed in spiritual settings’

Reach out, and we’ll be there

‘Such is the concern for accessibility that no British arts institution can afford to behave with high-handedness’

Fit for a king: Tutankhamun’s chamber

Almost a century after its discovery, the burial chamber of Tutankhamun is being recreated down to the minutest detail in the Egyptian desert

Satire that has no sting

‘The political mainstream has become expert in the co-option of its critics’

Italian fashion at London’s V&A

Up close and visceral

‘Takacs and Cseke plunge their cameras into the heart of the action, asking questions that are normally suppressed’

Phantom of the cinema

The reclusive Frenchman, one of the most original artists of postwar Europe, is scarcely known to the wider public

Economical with the truth

‘There’s a reason a Warhol dollar-sign painting is valued more than most renaissance altarpieces’

The Hunger Games: Catching Fire – DVD review

Part two of the mega-successful franchise features more camp dystopia

Revving up for the road

An early novella reveals the green shoots of Jack Kerouac’s freewheeling style. A review of ‘The Haunted Life: The Lost Novella’

The joy of archaeolatreia

‘Forget the ruins of the past; today’s ruinous visions are of the future’

ABOUT PETER

Peter AspdenPeter Aspden is the Financial Times’ arts writer, having previously been its arts editor for five years. He joined the paper in 1994, as deputy books and arts editor and a general feature writer on Weekend FT. He has written on numerous subjects, including travel, religion, politics, history, most art forms and sport: he covered the Olympic Games in Atlanta in 1996, and the World Cup in France in 1998.

He was educated at St Edmund Hall, Oxford, where he read Philosophy, Politics and Economics, before going into journalism. He joined the Times Higher Education Supplement in 1985, where he went on to become deputy editor. He has been writing a weekly column on contemporary culture since January 2004; it appears in the Life & Arts section every Saturday.

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