Joshua Lieberman

Nothing heightens the sense of the unpalatable better than a dinner scene. Think of the violence meted out at the dining table in Pasolini’s Salò (1975). Think of André Gregory lecturing Wallace Shawn on his solipsism – much to our discomfort – in Louis Malle’s My Dinner with Andre (1981). CBC’s documentary Deconstructing Karen accidentally

Philip Guston is hard to dislike. The most damning critique levied against the canonical mid-century American painter is that he is too uncontroversial, his appeal too broad, his approach altogether too winsome. None of that stopped the team behind Philip Guston Now – a travelling mega-survey of his work, which will reach Tate Modern in