Edward Hopper

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Morning Sun by American artist Edward Hopper.

I’m sitting in the window of This Must be the Place waiting for my veggie breakfast on a sun-drenched summer’s morning. It is chaos here in the wild (...)

The Irishman: Al Pacino – astonishingly, making his debut in the Scorsese wheelhouse – and Robert De Niro

Golly. Look at the shots of Robert De Niro as a young man. They must have taken those when The Irishman began shooting, in 1988. It’s the Boyhood of g(...)

Vilhelm Hammershøi’s Three Young Women (1895).

In Vilhelm Hammershøi’s lifetime (1864-1916), art changed arguably more than in all previous centuries combined, evolving from impressionism to post-i(...)

Wolfgang Tillmans: ‘Doubting and questioning are not counterproductive but really positive.’ Photograph: Alex Welsh/New York Times

In 2016, Wolfgang Tillmans launched a pro-EU campaign that included a collection of posters and print-at-home T-shirt designs emblazoned with pointed (...)

Edward Hopper’s ‘Chop Suey’ (1929)

It’s a simple scene: just two women chatting in a restaurant. But as depicted by the great American painter Edward Hopper in his 1929 work Chop Suey, (...)

Emily Blunt and Millicent Simmonds in A Quiet Place

It turns out that John Krasinski, the likeable star of The Office (US) and Away We Go, has been holding out on us. How else might one explain this per(...)

Ian Beatty makes it to snowy Austria in the Tesla

If Elon Musk can send a car to Mars then surely I can drive one of his Teslas from Ireland to Austria without too much complaint. That’s the idea behi(...)

Urbanity: creative, independent and good value.

From outside, Urbanity looks like Edward Hopper’s Nighthawks. With laptops. A lone man seems lost in other people’s thoughts rather than his own on th(...)

Observation car on an Amtrak train. Photograph: Julia Vallerga

Train travel in the US is well worth doing – if you have the time and the patience. To get from New York to Austin, Texas, a journey of more than 2,70(...)

Artist Brian O’Doherty: ‘Now that I’ve got less permanent, I would like to do some permanent installations.’ Photograph: George Tatge

In Brian O’Doherty’s studio there is a large photograph dating from 2002. Five figures are posed against a white background: Brian O’Doherty, William (...)

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