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Sam Thorne

‘It’s a sinewy and organic thing, almost threatening, in an otherwise boring district of embassies and hotels’

By Sam Thorne

Six-years in the making, the comprehensive ‘Museum of Obsessions’ tracks the life and work of the prolific and enormously ambitious curator 

By Sam Thorne

Sam Thorne on the abundance of artists creating clouds, or works that cloud our vision 

By Sam Thorne

The 15th anniversary of Joshua Tree's annual art event: High Desert Test Sites 

A new book on the legendary curator Walter Hopps 

By Sam Thorne
Cover page of Jakob Ullmann’s score, voice, books and FIRE II/4, 1996–98, exhibited at documenta 14, Athens, 2017. Courtesy: the artist

What are the implications of documenta 14’s focus on the aural?

By Sam Thorne

Exhibitions from, or about, the past that help make sense of the present 

By Sam Thorne

Recently released online, MoMA’s vast exhibitions archive shakes up the modernist canon

By Sam Thorne

How are art schools changing?

By Sam Thorne
Rendering of Pavilion of Reflections at Manifesta 11, 2016. Courtesy: © ETH Studio Emerson

The rise of the artist-curated biennial

By Sam Thorne
Greenhouse designed by Francisco Gonzalez-Pulido in the Ethnobotanical Gardens, Oaxaca, 2015

Is a new greenhouse in Mexico a blueprint for the museum of the future?

By Sam Thorne
Bakunin’s Barricade, 2015, mixed media, dimensions variable; loan contract stipulating that the barricade may be requested and deployed during economic, social, political or transformative moments and social movements; and works from the Van Abbemuseum collection including the following paintings: René Daniëls, Grammofoon, 1978; Marlene Dumas, The View, 1992; Asger Jorn, Le monde Perdu, 1960; Oskar Kokoschka, Augustusbrücke Dresden, 1923; Fernand Léger, Une Chaise, un pot de fleurs, 2 bouteilles, 1951; El Lissitzky, Proun P23, No. 6, 1919; Pablo Picasso, Nature morte à la bougie, 1945; Jan Vercruysse, Schöne Sentimenten, 1988. Courtesy: the artist and Van Abbemuseum, Eindhoven; photograph: Peter Cox

Sam Thorne discusses activism, collaboration and the uses of absurdity with Ahmet Öğüt

By Sam Thorne