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Think Piece

Detail of the defaced statue  of British colonialist Cecil Rhodes at  the University of Cape Town  shortly before its removal, 2015. Courtesy Getty Images

Public monuments, Islamic State and contesting the story of the past by Marina Warner

By Marina Warner
AA Bronson and Ryan Brewer, Red, 2011, Duratrans transparency in  lightbox, 214 × 143 × 15 cm. Courtesy: the artist and Maureen Paley, London; © AA Bronson and Ryan Brewer

On mimesis, art and alchemy

By Jan Verwoert
Jockum Nordström, Inability, 2014  watercolour, graphite, collage on paper, 64 × 45 cm. Courtesy: David Zwirner, New York/London

The intermingling of art and illustration in the work of Catrin Morgan, Jockum Nordström, Tomi Ungerer

By Charlie Fox
Nida Sinnokrot, Jonah’s Whale, 2014, hand-cut Israeli  settler caravan installed on a former Israeli military base in the West Bank. Courtesy: the artist

On the ruptures and restlessness of much contemporary art, and how this is reflected in the 56th Venice Biennale

By Kaelen Wilson-Goldie
Jim Nutt, Wow, 1968, acrylic on Perspex, 76 × 63 cm. Courtesy: the artist; collection of Karl Wirsum and Lorri Gunn

How a sense of the local shapes art in the US

By Jennifer Kabat
Kerstin Brätsch, Blacky Blocked Radiant Sunbathed Mylar, 2012,  oil on Mylar, 1.5 × 1.2 m. Courtesy: the artist, Gavin Brown’s enterprise, New York, Balice Hertling, Paris, and Giò Marconi, Milan

In recent years, abstract painting has experienced both a new popularity and a critical backlash.

By David Geers
Jonas Wood, Interior with Fireplace, 2012, oil and acrylic on canvas on paper, 2.6 × 2.3 m. Courtesy: the artist and David Kordansky  Gallery, Los Angeles; photograph: Fredrik Nilsen

Imagine a door with no room: Are you inside or outside?

By Amy Sherlock
Haris Epaminonda, Images, 2010, black and white riso print artist’s book, 20 × 25 cm. Courtesy: the artist, Galleria Massimo Minini,  Brescia, and Rodeo, Istanbul

A slew of recent exhibitions and projects reveal an interest in the artist as anthropologist

By Kaelen Wilson-Goldie
Natalie Häusler, Aykan/Casino, 2013, stained glass,  speakers, mp3 player,  sound, book page from ‘still life’,  78 × 48 × 16 cm. Courtesy: the artist and Supportico Lopez, Berlin; photograph: Hans-Georg Gaul

Approaching sincerity via poetry and art

By Matthew Rana
BANK, Stop short-changing us. Popular culture is for idiots. We believe in ART., 1998, silkscreen on photocopy, 120 × 86 cm. Courtesy: BANK and MOT International, London and Brussels

British art and the 1990s

By Dan Fox
Joan La Barbara performing at the Salvatore Ala, Milan, 1976. Photograph by Roberto Masotti. Courtesy: the artist

A brief history of unique singing techniques

Lilla Cabot Perry, The Black Hat, 1914, oil on canvas, 128 × 92 cm. Courtesy: Currier Museum of Art, Manchester, New Hampshire

A number of  long-overdue exhibitions have recently celebrated the achievements of overlooked women artists.

By Kaelen Wilson-Goldie