The Abject

Attributed to Jacob Agnesius, Saint Sebastian, c.1638. Ivory carving. Courtesy: Colnaghi

As morbid devotional objects go on show at Frieze Masters, one writer asks: why do we look at violent religious art?

By Olivia Laing

Why has abjection gained renewed currency in art?

By Kirsty Bell

Abjection has gained renewed currency as art looks to the body and states of digital and physical decay

By Ed Atkins
Nicholas Deshayes, Cramps (detail), 2015, Mixed Media, three parts, each: 125 x 186 x 10 cm, courtesy: Stuart Shave / Modern Art, London

Why is abjection making a comeback?

By Hannah Black