Issue 206

Some thoughts on transience, in art and life

By Jennifer Higgie

‘Kara Walker reinvents painting and drawing’s conventions, while talking about ideas that are epic in scale and deep in blood,’ Als writes

By Hilton Als

As the artist’s largest survey to date opens at Zeitz MoCAA and Norval Foundation, Cape Town, Sean O’Toole examines his dadaist lexicon 

By Sean O’Toole

In a special photo essay, the artist places her body ‘in the line of danger, admiration, rejection, description’

By Collier Schorr

The artist’s physically gruelling performances reflect on the black body and the possibilities of resurrection

By Evan Moffitt

The restless, rageful ‘No Home Record’ lures as much as it discomfits

By Hermione Hoby

Q. What could you imagine doing if you didn’t do what you do? A. Reading all day 

By ​Meredith Monk

‘Surge’ finds uneasy resonances between the 1981 New Cross fire and more recent tragedies

By Marek Sullivan
Frank Howling, Barticaborn I, l 967, acrylic paint, spray paint and oil wax on canvas234 × 122 cm. Courtesy: the artist and Lowinger Family Collection Frank Howling

Motion and migration in the paintings of Frank Bowling

By Negar Azimi

Mimi Chu on Robertas Narkus, Nástio Mosquito, Nora Turato and more

By Mimi Chu

From blues to jazz to the baroque – new fiction from Claire-Louise Bennett

By Claire-Louise Bennett

Johnston showed how writing was performance and politics at once

By Jennifer Kabat