In this courageous and powerful piece, Irenosen Okojie discusses the emotional abuse and exploitation Black women creatives have experienced in various arts industries and calls for greater accountability amongst white male perpetrators.
In the Whitechapel’s latest retrospective, Eileen Agar is revealed as an artist of unique imagination, a free spirit whose repertoire looked to the magic of nature for inspiration, writes our contributor Denise Hansen.
Bringing together thirteen emerging artists between the ages of 16-25, the Barbican’s latest exhibition, It All Comes Down, explores how young people navigate the world and approach their artistic practise during the pandemic.
Reading about the life and friendships of artist Ida Nettleship John has given doctoral student, Eliza Goodpasture, comfort during lockdown and companionship when friends feel far away.
Before the second lockdown Toni Roberts saw Lynette Yiadom-Boakye’s show Fly in League with the Night at Tate Britain. Here, she recalls vibrant paintings alive with stories, brilliant studies of people, and human relationships that transcend the canvas’ edges.
In this creative ‘Christmas’ essay, Hannah Hutchings-Georgiou reflects on the power and therapeutic potential of drawing in her own life, the artistic practise of Louise Bourgeois, and Jean Frémon’s new text Nativity (Les Fugitives).
After an Erasmus exchange in Paris, artist and art historian Kathryn Cutler-MacKenzie discovered that translation is about the space between languages and voices; a space that affords us new connections, ideas and friendships.
In this beautiful creative non-fiction piece, ‘Gold Top’, Rym Kechacha uses Remedios Varo’s painting, Celestial Pablum, to explore her own experiences of breastfeeding her baby daughter through the night.
On a trip to Berkeley, California, Molly Gilroy discovered Sylvia Fein’s hypnotic and blazing work, The Painting Told Me What to Do, 2012, an image, which in postcard form, has given her hope during lockdown.
Sian Norris reflects on the female gaze as captured in Zinaida Serebriakova’s At the Dressing Table, 1909, and when looking at Dorothea Tanning’s Self-Portrait, 1944, she considers the lack of freedom we have during lockdown.
Isabel Radford reflects on one of Frida Kahlo’s best known works, Self-Portrait with Thorn Necklace and Hummingbird, 1940, and sees the artist as a source of empowerment for our current times.
Toni Roberts discusses how Mona Hatoum’s radiant red sculpture, Hot Spot III, 2009, has become a relevant work of art during her time in lockdown and a metaphor for our cage-like existence.
