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Kyungmi Shin’s Monsters, Vases and The Priest at Sperone Westwater is an act of ceremony. Moving between timelines, the artist has collapsed the space of images through painting to form an important site for contemplation; for gathering distant experiences and ushering them into the present. In understanding her family lineage she avoids self-mythologizing and instead, more broadly, examines the beauty and dignity of the Asian experience.

As I think of the successes and failures of artists’ legacies, I’ve learned different stories tell different life’s circumstances, depending on luck and persistent efforts on the behalf of those who are dedicating their lives to perpetually keeping the artists’ works alive and contextually relevant in the former, while in the latter what requires of the artists’ caretakers, be it members of their families, friends or colleagues there my lack of clarity of intentions or self-motivations.

Few can disagree that Irish writing has been thriving as never before, and in just about every fictional genre and category. Two Irish Times opinio...

“Everyone has the right to a nationality,” states article 15 of the “Universal Declaration of Human Rights” (1948) and “no one shall be d

As we ring in 2024, here are our editors’ top picks for the season, from movies to music, fashion to food