Fan Letter

Showing results 101-120 of 146

‘She introduced me to the borderland of craft, for which I count myself very lucky’

BY Tanya Harrod |

‘Released following the musician’s death in 1993, the album is an extraordinary swan song: morose, comical and utterly preposterous’

BY Max Andrews |

‘To me, it offers a particular emotional experience – something like joyful grief’

BY Laura McLean-Ferris |

‘If criticality indicates a desire for change, then surely the critic is actually an optimist’

BY Jörg Heiser |

‘I started to read Mayröcker’s work obsessively. She became one of the few writers whose every written word I have read’

BY Hans Ulrich Obrist |

‘It was a piece of long-term thinking that put aside political expediency for the future benefit of citizens’

BY Amanda Levete |

‘If anything can be converted to DNA, then this interview could become a DNA portrait of you’

BY Lynn Hershman Leeson |

‘Hollis’s great skill is to reconcile frugality with generosity’

BY Emily King |

‘I keep returning to the work – even as it changes’ 

BY Dawn Adès |

‘The bold, deep, shoulder-shaking beats of the new-jack sound era’

BY Ismail Einashe |

‘My sense was that a shift had happened in what is only now called fashion exhibition-making’

BY Judith Clark |

‘Chadwick relished combining provocative and problematic materials in order to probe the body and its boundaries’

BY Louisa Buck |

‘Jones co-opts the male-on-male objectifying gaze of gay erotica and converts it to a female-on-female gaze’

BY Dodie Bellamy |

‘It encourages you to ponder its exalted lineage while taking the piss out of you for doing so’

‘Each hypnotic frame of No Home Movie lasts just long enough to allow our minds to wander, summoning recollections of domestic spaces’

BY Hedi El Kholti |

‘Tang’s action took place at a time when performance art was outlawed by the Singaporean authorities’

BY Eugene Tan |

‘You have taught art within a history that is our own, with a language that is our own’

BY Matariki Williams |

‘It’s the way he talks about his own death that amazed then and impresses today’

BY Brian Dillon |

‘It was an architectural death mask of a domestic space and of a century of its inhabitants’

BY Iwona Blazwick |

 ‘He is ruthless in pursuit of his vision as any great director must be; his powerful images are indelible’

BY Amanda Sharp |