The Scream: Munch London show ‘not intentionally timed with Brexit’

Curator at British Museum says date of exhibition featuring artwork is ‘pure serendipity’

There are days, as the Norwegian artist Edvard Munch well knew, when it is impossible to express one’s feelings in words, and only an image will do.

For those who may find themselves, for one reason or another, experiencing such a moment, the British Museum would like to help. Opening next month, it will host the largest exhibition of Munch’s prints in the UK in almost half a century, the centrepiece of which is a lithograph of the artist’s iconic work The Scream.

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The Guardian

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Rodent leather and designer kidneys: art in the age of bio-revolution

Bespoke breasts, cloned frog meat and a gold gimp suit all feature in a remarkable new exhibition exploring the cutting edge of science

John A Douglas has a lot to thank medical science for – not least the new kidney he received in 2014 from an anonymous donor. “Since the operation, I’ve become a gym bunny, and lost 35 kilograms,” says the Australian artist over Skype. “But the main thing is I’d be dead otherwise.”

Still, the procedure left him with complicated feelings to process. “I was absolutely devastated after the surgery. At the beginning, you lose your sense of self. I’ve been surgically altered with the DNA and tissue of another person. So in a sense I’m a post-human whose death has been deferred at the cost of lifelong compliance programmes of medication, diet and fitness. My body will be monitored and observed for the rest of my life. In a sense it’s not my body any more – it’s been successfully invaded.”

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The Guardian

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National Portrait Gallery drops £1m grant from Sackler family

Artist Nan Goldin welcomes move, which comes after firm’s alleged role in US opioid crisis

The National Portrait Gallery has become the first major art institution to give up a grant from the controversial Sackler family, in a move that campaigners said was a landmark victory in the battle over the ethics of arts funding.

In a decision hailed as “a powerful acknowledgment” that some sources of income could not be justified, a spokesperson for the gallery said it had “jointly agreed” that it would “not proceed at this time” with a £1m donation from the family, whose US pharmaceutical company Purdue Pharma LP makes the highly-addictive opioid prescription painkiller OxyContin.

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The Guardian

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National Portrait Gallery drops £1m grant from Sackler family

Artist Nan Goldin welcomes move, which comes after firm’s alleged role in US opioid crisis

The National Portrait Gallery has become the first major art institution to give up a grant from the controversial Sackler family, in a move that campaigners said was a landmark victory in the battle over the ethics of arts funding.

In a decision hailed as “a powerful acknowledgment” that some sources of income could not be justified, a spokesperson for the gallery said it had “jointly agreed” that it would “not proceed at this time” with a £1m donation from the family, whose US pharmaceutical company Purdue Pharma LP makes the highly-addictive opioid prescription painkiller OxyContin.

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The Guardian

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From vibrating beds to infinity mirrors: motels that never left the 70s – photo essay

There’s a seedy romance to a rundown motel, and photographer Kate Berry has made it her mission to capture regional Australia’s finest

Picture the road trip: a Kingswood wagon or maybe a Fairmont. Olivia Newton John in the tape deck. Mum and Dad smoking in the front. The marginally cranked-open window only serving to corral the smoke into the back seat. When you pull up at a small-town motel, the race to run in and jump from one single bed to another is sweet relief from the past five hours of travel sickness.

Thirty-plus years later, you’re in the grip of a very different kind of sickness – nostalgia. In the 19th century, it was considered to be a malady so serious it might get you committed. But it’s the lifeblood of Kate Berry, the Melbourne-based founder of OK Motels: an Instagram account – and, more recently, a gig series – celebrating and documenting the unique world of regional Australian motels.

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The Guardian

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From vibrating beds to infinity mirrors: motels that never left the 70s – photo essay

There’s a seedy romance to a rundown motel, and photographer Kate Berry has made it her mission to capture regional Australia’s finest

Picture the road trip: a Kingswood wagon or maybe a Fairmont. Olivia Newton John in the tape deck. Mum and Dad smoking in the front. The marginally cranked-open window only serving to corral the smoke into the back seat. When you pull up at a small-town motel, the race to run in and jump from one single bed to another is sweet relief from the past five hours of travel sickness.

Thirty-plus years later, you’re in the grip of a very different kind of sickness – nostalgia. In the 19th century, it was considered to be a malady so serious it might get you committed. But it’s the lifeblood of Kate Berry, the Melbourne-based founder of OK Motels: an Instagram account – and, more recently, a gig series – celebrating and documenting the unique world of regional Australian motels.

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The Guardian

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‘Finally feeling happy in my skin’: American Boys captures the trans experience

Photographer Soraya Zaman traveled to 21 states to capture the trans experience in America with interviews and images

Photographer Soraya Zaman has spent the past three years traveling across 21 states in America, to photograph and interview transgender individuals in the cities where they currently live. The result is a book, American Boys, published by Daylight, which will be out on 2 April in the US and on 19 April in the UK. The book captures the trans experience, in the words of trans people.

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The Guardian

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David Bailey: ‘Deneuve said it’s great we’re divorced – now we can be lovers!’

As he powers into his 80s, the photographer recalls shooting everyone from Kate Moss to Andy Warhol, shares his regrets over voting leave – and reveals how Gordon Brown pulled a fast one on him

‘You look knackered,” says David Bailey, greeting me at his studio. It’s up a small mews and sprawls so casually across two floors that it still feels like the 60s inside. “Look at you,” he says. “Your buttons aren’t even done up right.” I look down at my jacket: that bit is true. But I tell him: “I’m not tired!”

“I was watching you walking along the street,” he says. “I thought, ‘That must be the journalist, she looks knackered.’” The combination of acuity (he must be right: he is, after all, the one who makes a living with his eyes) and demonic overfamiliarity (by this point, we are holding hands; I have no idea who started it) is disarming. If this is his shtick, it’s working on me, totally and overwhelmingly. Or maybe he has a tailored shtick for everyone he meets.

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