My predicted line up vs Liverpool

Mikel Arteta and his Arsenal squad will travel away to Liverpool tonight in what could be one of the biggest games of the year. On paper, its anyone’s game but Arsenal will be hoping that they can walk away with all three points.

Beating Liverpool at Anfield is no small task and the Arsenal lads will have to be at their very best. I expect a full-strength side from both teams, Liverpool played EFL football mid-week so, Arsenal has the advantage of extra rest, but after Liverpool drew to United last weekend, they’ll be looking to rectify that result. Here’s how I expect Arteta to line his squad up at Anfield.

In goal I expect David Raya, after a great performance against Brighton where he kept a clean sheet yet again, he will be looking to do the same thing. Keeping calm, concentrated and composed will be vital for Raya as one mistake and Liverpool will be looking to punish him.

In defence I expect a back four of White, Saliba, Gabriel and Zinchenko. Having all played last week against Brighton and kept a clean sheet, I think Arteta opts for his strongest back four available. Both full backs had really good games vs Brighton but Liverpool is a different task, with both Salah and Diaz to deal with, it will be a busy night for our full backs. Saliba and Gabriel obviously at centre back and hopefully they can continue their great form when partnered together.

Arsenal Women are now on their winter break, having opened their Christmas presents at London Colney yesterday in great festive spirit!

“I’m sorry Mum. I don’t normally do this before Christmas Day but I’m being forced to.”

Who’s ready for Colney Christmas?

(@leahcwilliamson isn’t) pic.twitter.com/JDfw8Pfmsa

— Arsenal Women (@ArsenalWFC) December 22, 2023

Why Tracy Chapman's Fast Car is more popular than ever

Our listener Christian has a theory: could a European Super League actually improve English football? Marcus, Luke and Andy debate the merits of that suggestion on today’s Mailbag.

Elsewhere, Luke explains why someone should make a biopic all about Paolo Maldini’s tennis career and there's agreement that humiliation is the key to improving players' conduct in football!

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A new artwork by Banksy was removed from its location in London shortly after the artist uploaded images to his Instagram account on December 22.

The new work by the anonymous artist is a metal traffic stop sign featuring three images of aircraft resembling military drones. It was installed on a street sign in the South London neighborhood of Peckham.

After images of the stop sign were posted on Banksy’s popular account (which has 12.1 million followers), commenters immediately responded that it would soon be taken and sold online.

Around 12:30 p.m., two people used bolt cutters and a Lime bicycle to remove the artwork. A witness named Alex told the Sun that one of the people initially tried hitting it with his hands and fell off the bike before returning with the bolt cutters.

The incident follows several other times Banksy has been in the news this year. A mural on Valentine’s Day about domestic violence prompted the removal of a chest freezer twice, a couple discovered a large seagull painted on their home would cost $250,000 to remove, a 500-year-old farmhouse with a large Banksy mural of a young boy was demolished in March, and a damaged mural in Venice painted in 2019 will be restored through private funding. Banksy’s identity was also recently revealed through an archival interview with the BBC.

This year saw a number of significant discoveries in the field of archaeology.

Perhaps some of the most interesting have involved innovative technology that has allowed archaeologists to dig deeper than before, such as the discovery of an ancient temple, now underwater, in a sunken city off Egypt’s coast and an ancient Greek catacomb found below the southern Italian city of Naples. Others, however, have been directly tied to current events, among them, the ancient Greek city Cyrene which emerged after floods devastated Libya.

Some early settlements like a Neolithic monument and a mysterious sanctuary were identified on Scotland’s Isle of Arran and in the Netherlands’ town of Tiel, respectively, offering deeper understandings of their ancient societies. There were also culturally significant treasures revealed like a 3,000-year-old sealed corridor in a massive Chavin temple complex in Peru, sixty mummified bodies that were found in two tombs in the ancient Egyptian city Luxor, and, while not a discovery, the Vatican’s reopening of an ancient Roman necropolis to the public.

While these have all been important, there are a selection that stood out among the rest. Below is a look at the ten archaeological finds that are likely to have an impact not just this year, but on our understanding of human history for years to come.

Prices at auctions this year have been shaky, leading to questions about whether there is a market slowdown, but that didn’t stop Julie Mehretu from setting and resetting records.

In October, the Ethiopian-born, US-based painter set a new record for an artist born in Africa when an untitled work from 2021 sold for $9.32 million at Sotheby’s Hong Kong. It beat the previous record, set by South African artist Marlene Dumas’s The Visitor (1995) in 2008, when it sold for $6.33 million at Sotheby’s London. Then, in November, Mehretu broke her record with a new one: her 2008 work Walkers With the Dawn and the Morning (2008) sold for $10.7 million at Sotheby’s New York.  

Mehretu’s records were a sign that the international market for African art was hot this year. That was also evident in October at Sotheby’s London when British-Ghanaian painter Lynette Yiadom-Boakye’s auction record was reset by her painting Six Birds in the Bush (2015), which sold for $3.6 million—more than $1 million above its estimate.

The spotlight builds on the momentum gained in 2022. A 2023 report by the insurance company Hiscox revealed that Ivory Coast–born Abdoulaye “Aboudia” Diarrassouba was the top-selling artist in 2022, with 75 works sold at auction, beating out Damien Hirst. And an Artprice report issued in March stated that “contemporary African art has become a staple element of the global art market,” with top auction houses working to meet the demand. Hiscox estimated that $63 million was spent on works by artists born in Africa in 2022, compared to $47 million the previous year.

“Collectors continue to have interest because they have [finally] seen that artists from Africa and the diaspora have longevity and are also worth investing in,” said Adora Mba, an adviser specializing in contemporary African art.

A masterpiece hanging in the Museo Nacional del Prado in Madrid has long sparked debates over whether it was the work of Raphael. But a group of researchers now claims to have finally solved the mystery through the use of an artificial intelligence algorithm.

The Madonna della Rosa (Madonna of the Rose) depicts Mary, Joseph, and the baby Jesus, along with an infant version of John the Baptist. Until the 19th century, the painting was attributed to the Italian Renaissance painter Raffaello Sanzio da Urbino, more often known as Raphael. Then doubts were raised over the Joseph figure “looking like an afterthought” and whether Raphael had painted the lower section.

The museum’s website page for the oil painting solely credits it to Raphael.

According to a new research paper published on December 21 in the journal Heritage Science, analysis of the painting using an AI algorithm with an accuracy of 98 percent found that the painting was entirely made by the Italian artist. But it “raised questions about whether Raphael indeed painted the face of Joseph in the painting.”

The researchers, led by University of Bradford visual computer professor Hussan Ugail, noted that the AI analysis supported earlier work by art historians who had “previously questioned the full attribution of this painting to Raphael alone, suggesting that his associate, Giulio Romano, might have had a hand in it.”

It was a great year in Black art from New York to the San Francisco Bay. In 2023 it was featured throughout the country in a wealth of blockbuster exhibitions that garnered considerable attention, establishing Black artists as some of the most esteemed in the world.

Black art speaks to diverse audiences about the lived experiences of Black artists and Black people. It is an ideal way to connect to and understand the conditions under which they exist through unadulterated dialogue between artists and audiences.

Fresh off her epic pavilion at the Venice Biennale 2022, Simone Leigh was given a retrospective at the Institute of Contemporary Art Boston; it traveled to the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and will continue to move audiences as it travels to the Los Angeles County Museum of Art in 2024. “Wangechi Mutu: Intertwined,” the astounding mid-career retrospective showing the dynamism of Mutu’s skills in artistic mediums including painting, sculpture, and video art, debuted at the New Museum in New York City and will move to the New Orleans Museum of Art early next year. At the Baltimore Museum of Art, “The Culture: Hip Hop and Contemporary Art in the 21st Century” celebrated hip-hop’s 50th anniversary with almost 90 artists exhibited, including Mark Bradford, Carrie Mae Weems, and Arthur Jafa. There were also noteworthy exhibitions of Faith Ringgold, Kehinde Wiley, Charles Gaines, Amoako Boafo, Charles White, and Betye Saar.

Unfortunately, not all the exhibitions featuring work by Black artists can be covered in a single article. Unlike Leigh and Mutu’s retrospectives, which were surrounded by much hype, the artists below had major exhibitions—equally expressive of the Black experience—that deserve more notice.

Once when I was about twelve I was walking down the dead-end road in Albuquerque where I grew up, around twilight with a friend. Far beyond the end of the road was a mountain range, and at that time of evening it flattened into a matte indigo wash, like a mural. While kicking down the asphalt we saw a small bright light appear at the top of the peaks, near where we knew radio towers to occasionally emit flashes of red. But this glare, blinding and colorless, grew at an alarming rate. It looked like a single floodlight and then a tight swarm beginning to leak over the edge of the summit. My friend and I became frightened, and as the light poured from the crest, our murmurs turned into screams. We stood there, clutching our heads, screaming. I knew this was the thing that was going to come and get me. It was finally going to show me the horrifying wiring that lay just behind the visible universe and that was inside of me too. And then, a couple seconds later, when we realized the light was only the shining moon rising over the peaks, we began laughing so hard that my parents heard and stumbled out into the front yard. 

I thought of this memory a few weeks ago while in a Lyft in Las Vegas, also at twilight. A man named June was driving me to the Sphere, the giant 20,000-capacity arena built just off the Strip by the Madison Square Garden Company and designed by the firm Populous, which opened earlier in the fall. The Sphere is (mostly) its titular shape, 157 meters wide, and covered in what is reputedly the largest LED screen on earth, and inside is a smaller sphere, holding a lobby and an arena with a curved screen that bears down at and envelopes the audience, a massive take on a planetarium with 4D features. The globular animations on the outer surface are what first captivated the attention of online viewers; since the Sphere turned on, it has featured rotating basketballs, mercurial ripples, AI-generated washes of color, and advertisements that cost brands nearly half a million dollars per day to display. Its most iconic exterior images are all the kinds of things middle schoolers like to draw in the margins of their notebooks: an eyeball, an emoji face, and, yes, the moon. 

I first latched on to the Sphere in mid-2021, when architectural renderings had already been circulating for a few years. During the 2022 midterms, while election forecasters were waiting for late-breaking votes from Clark County, Nevada, where Las Vegas is the county seat, I remember thinking that the Sphere would be the right place on which to beam the same consequential results in the future. If the electoral college was always going to turn random populations into oracles, why not enhance the effect and ground the abstraction with the most cosmic of shapes? At that point, the structure was still a giant salad bowl of curved steel beams just off the Strip; Madison Square Garden had been building the thing since 2018, and inflation had pushed the projected cost to $2.2 billion, nearly double the original budget. By September of this year they finished it, and U2 started its forty-show residency. I booked a trip to Vegas and bought a ticket to Postcard from Earth, the Darren Aronofsky “movie” that had been made for the venue. (Cheaper than Bono’s show.) It was all I could think about for weeks. 

Then I began having dreams that punished me for my enthusiasm. In them the Sphere was a pathetic size, the circumference of a backyard trampoline, languishing in roadside parking lots like a sheepish dumpster with a vending machine’s tepid glow. People whizzed past it in their cars as they would highway billboards for personal injury lawyers. And I guess that was the outcome I was afraid of. For me, the question of the Sphere was not really about the subjects that other journalists had focused on—the state of live entertainment, or what screens do to our attention spans—but about whether a physical object could still truly excite us, siphon and sustain our normally starved collective passions. (For the majority of human history, this type of adulation was mostly aimed at entities that were sacred, cosmic, or both, like comets.) That the Sphere was owned and operated by sterilized companies didn’t really matter to me; perhaps this increased the effect of the thing as a smooth, vacuous singularity of the masses. Once I got there, and once I went inside it, would the energy I had generated thinking about it have anywhere to land? I was hoping—and this might have been the optimism that the Sphere was brazenly promoting at a time when everyone seemed to be shorting it—that if you tore away all the facts about its content, you would still be left with what moved me against all odds: the shape, and the light.