Monocle on Culture
By Monocle
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Category: Society & Culture
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Subscribers: 283
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Episodes: 100
Description
Robert Bound and his guests discuss what has piqued their interest in our one-stop shop for lively reports and in-depth interviews on the newest and finest in art, film, books and the media business.
| Episode | Date |
|---|---|
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Star style: the art of crafting a look
|
Apr 22, 2024 |
|
Maggie Rogers
|
Apr 15, 2024 |
|
Spring preview
|
Apr 08, 2024 |
|
Maggi Hambling
|
Apr 01, 2024 |
|
The Staves
|
Mar 25, 2024 |
|
Lauren Oyler
|
Mar 18, 2024 |
|
Spain’s international contemporary art fair Arco Madrid
|
Mar 11, 2024 |
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‘Io Capitano', Lana Lubany and the first AI-created artworks
|
Mar 04, 2024 |
|
Hans Zimmer
|
Feb 26, 2024 |
|
Yoko Ono’s endless imagination
|
Feb 19, 2024 |
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The untold story of Cymande and the return of Pina Bausch’s ‘Nelken’
|
Feb 12, 2024 |
|
The Last Dinner Party
|
Feb 05, 2024 |
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‘The Zone of Interest’
|
Jan 29, 2024 |
|
A deep dive into the career and character of Werner Herzog
|
Jan 22, 2024 |
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Treading the boards in 2024
|
Jan 15, 2024 |
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Looking ahead at the year in culture
|
Jan 08, 2024 |
|
Review: ‘The Boy and the Heron’
|
Jan 01, 2024 |
|
Best of Monocle on Culture 2023
|
Dec 25, 2023 |
|
2023 in review
|
Dec 18, 2023 |
|
The best Christmas music of 2023
|
Dec 11, 2023 |
|
200 episodes of ‘Backlisted’
|
Dec 04, 2023 |
|
Review: ‘The Eternal Daughter’
|
Nov 27, 2023 |
|
An encyclopaedia of The Cure and the surprising world of rabbi portraiture
|
Nov 20, 2023 |
|
John le Carré and the nature of truth
|
Nov 13, 2023 |
|
Leading the charge: introducing the new Cadillac Lyriq
|
Nov 08, 2023 |
|
Turin, from dawn to dusk
|
Nov 06, 2023 |
|
Hiroshi Sugimoto
|
Oct 30, 2023 |
|
Review: ‘Killers of the Flower Moon’
|
Oct 23, 2023 |
|
Twenty years of Frieze London
|
Oct 16, 2023 |
|
Autumn album releases
|
Oct 09, 2023 |
|
Short stories with Tessa Hadley and Lawrence Osborne
|
Oct 02, 2023 |
|
‘Stop Making Sense’ and the enduring appeal of the concert movie
|
Sep 25, 2023 |
|
Feist, São Paulo’s art scene and ‘Fremont’
|
Sep 18, 2023 |
|
Review: ‘The Fraud’, Zadie Smith
|
Sep 11, 2023 |
|
Look ahead to autumn: TV, books, art
|
Sep 04, 2023 |
|
Summer blockbusters: How did they fare?
|
Aug 28, 2023 |
|
Colson Whitehead
|
Aug 21, 2023 |
|
John Carroll Kirby and Sylvan Esso
|
Aug 14, 2023 |
|
‘Talk to Me’
|
Aug 07, 2023 |
|
Summer sounds
|
Jul 31, 2023 |
|
Christopher Nolan
|
Jul 24, 2023 |
|
How to design an album cover
|
Jul 17, 2023 |
|
Ryuichi Sakamoto in mixed reality
|
Jul 10, 2023 |
|
Max Richter
|
Jul 03, 2023 |
|
Viva la diva!
|
Jun 26, 2023 |
|
Literature in London
|
Jun 19, 2023 |
|
Anselm Kiefer’s ‘Finnegans Wake’ and fake artworks at The Courtauld
|
Jun 12, 2023 |
|
Beatie Wolfe’s “sonic self-portrait”, Hong Kong Mixtape and Esperanza Spalding
|
Jun 05, 2023 |
|
‘The Stones and Brian Jones’
|
May 29, 2023 |
|
Review: ‘Are You There, God? It’s Me, Margaret’ and ‘Return to Seoul’
|
May 22, 2023 |
|
Rodrigo y Gabriela
|
May 15, 2023 |
|
Jeremy Deller
|
May 08, 2023 |
|
Jessie Ware
|
May 01, 2023 |
|
What to read this spring
|
Apr 24, 2023 |
|
Dameer, ‘Cairo Conspiracy’ and the Tenderloin Arts Festival
|
Apr 17, 2023 |
|
Give up the day job?
|
Apr 10, 2023 |
|
Meet me on the dance floor
|
Apr 03, 2023 |
|
On Collecting: Erving and Joyce Wolf
|
Mar 28, 2023 |
|
What to watch this spring
|
Mar 27, 2023 |
|
‘Rye Lane’
|
Mar 23, 2023 |
|
Is sex in film on the decline?
|
Mar 13, 2023 |
|
Mike Nelson: Extinction Beckons
|
Mar 06, 2023 |
|
‘Hungry Ghosts’ by Kevin Jared Hosein
|
Feb 27, 2023 |
|
Beyond the streets
|
Feb 20, 2023 |
|
Jerry Saltz, Israel’s oldest art school and Vermeer
|
Feb 13, 2023 |
|
Guillermo del Toro
|
Feb 06, 2023 |
|
This year’s Oscar nominations
|
Jan 30, 2023 |
|
2023 on the stage
|
Jan 23, 2023 |
|
‘Tár’
|
Jan 16, 2023 |
|
Is the art world changing?
|
Jan 09, 2023 |
|
Looking ahead to 2023
|
Jan 02, 2023 |
|
Best of Monocle on Culture 2022
|
Dec 26, 2022 |
|
2022 in review
|
Dec 19, 2022 |
|
Is jazz having a resurgence?
|
Dec 05, 2022 |
|
Twenty years of Art Basel Miami Beach
|
Nov 28, 2022 |
|
‘The Menu’ and food on the big screen
|
Nov 21, 2022 |
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‘The Menu’ and food on the big screen
|
Nov 21, 2022 |
|
‘Kingdom of Dreams’: the golden age of high fashion
|
Nov 14, 2022 |
|
On Collecting: William S Paley
|
Nov 10, 2022 |
|
George Saunders
|
Nov 07, 2022 |
|
Benjamin Clementine
|
Oct 31, 2022 |
|
The Banshees of Inisherin
|
Oct 24, 2022 |
|
Do literary prizes still matter?
|
Oct 17, 2022 |
|
Commercial photography – or fine art?
|
Oct 10, 2022 |
|
Espionage, Black History Month and ‘Natasha’
|
Oct 03, 2022 |
|
The music press: how it started and where it’s going
|
Sep 26, 2022 |
|
Autumn preview
|
Sep 19, 2022 |
|
‘Queer Eye’
|
Sep 13, 2022 |
|
The Irishman
|
Sep 13, 2022 |
|
‘Sweet Sorrow’ by David Nicholls
|
Sep 13, 2022 |
|
The RA’s Summer Exhibition
|
Sep 13, 2022 |
|
‘Into the Night’
|
Sep 13, 2022 |
|
Christmas crooners
|
Sep 13, 2022 |
|
‘The Souvenir’
|
Sep 13, 2022 |
|
‘Apollo 11’
|
Sep 13, 2022 |
|
Brett Anderson
|
Sep 13, 2022 |
|
Summer lookahead 2019
|
Sep 13, 2022 |
|
Cindy Sherman
|
Sep 13, 2022 |
|
Eve Babitz
|
Sep 13, 2022 |
|
‘By the Grace of God’
|
Sep 13, 2022 |