I have a short piece on Christelle Boule’s beautiful series, Drops, in the new issue of Loupe magazine. Pick up a copy or order online here.
I’ve written a feature on screen adaptations of Daphne Du Maurier’s work for Little White Lies. Read it here.
I have two features in the new issue of Loupe magazine, one on Marcin Januszkiewicz and the other on Bartolomeo Celestino. Pick up a copy or order online here.
In preparation for our 2A Films screening of The Cobweb, I took the opportunity to work my way through some of Vincente Minnelli’s extensive filmography. I didn’t see them all – Minnelli made some 34 feature films and a fair few remain unavailable in the UK – but it was a spectacular ride all the same. Read a round-up of the ones I did see here.
Together with Billy Launder, I have established 2A Films, a repertory cinema programming initiative focusing on lesser-known and lesser-seen films.
Our first event was a 35mm presentation of Simon and Laura (Muriel Box, 1955) at the Cinema Museum. This was for Scalarama 2016 and the film was introduced by Josephine Botting, Fiction Curator at the BFI.
Our next event is The Cobweb (Vincente Minnelli, 1955) at Genesis Cinema on 26th January. The film is screening from 35mm and will be introduced by Professor Peter William Evans, Emeritus Professor of Film Studies at Queen Mary University of London.
You can book tickets here. Hope to see you there!
My article on Florence Nightingale and Harriet Martineau’s book, England and her Soldiers, has been published in the Science Museum Journal. A peer-reviewed text, it draws on content research I undertook for the Museum’s new Mathematics Gallery.
I’m delighted to have been selected as a Runner Up in the 2015 Observer/ Anthony Burgess Prize for Arts Journalism.
Pieces were selected by a panel of judges chaired by the novelist and playwright Kate Mosse and including the writers Alexandra Harris and Ruth Scurr, and associate editor of the Observer newspaper Robert McCrum.
My piece, a review of Candida Höfer’s exhibition at Ben Brown Fine Arts, can be read here.
As London’s Victoria Miro gallery opens an exhibition of photographs by Francesca Woodman, I consider the way Woodman’s mental illness has – often unfairly – shaped the understanding and reception of her work. Continue reading