Art historian Julia Bagguley gives an introduction to the extraordinary artist at the centre of Kettle’s Yard’s latest exhibition, Lucie Rie, and celebrates her almost alchemical ability to make stunning pots, buttons, bowls and vases.
In this beautifully meditative essay, Emma Jones reflects on Ithell Colquhoun’s painting, Scylla, the artist’s links to British Surrealism and how seeing the body as landscape takes us beyond our narrow borders into new realms of personal and collective freedom.
Kirsten Glass’ enchanting paintings conjure alternate realms, invoke esoteric energies and summon nocturnal beings. In this creative essay, Hannah Hutchings-Georgiou meditates on the “obverse” side of her mesmerising work and its magical channeling of all things dark.
Heavy with heartache and loss, Lisa Goodrum turned to the haunting photography of Francesca Woodman to make sense of the pain and the blurry, achromatic period that was the summer of 2019. Here, in hauntingly beautiful prose, she tells her story.
Rachel Ashenden talks to artist Nell Brookfield about how her evocative paintings’ capture the strange in the quotidian and unleash the animalistic in the human.
In this beautifully evocative essay, Rolake Osabia reflects on her own practice as an artist and painter of portraiture, and describes what it felt like to relinquish control, have her own portrait painted, and become somebody else’s muse.
During lockdown, the study of German expressionist artists George Grosz and Otto Dix, and their portrayals of women, made Claire Thomson recognise the stark truth of the body.
This year’s RA Summer Exhibition tackles the all too relevant theme of ‘Climate’ with wit, imagination, humour, awe and urgency, writes our contributor Emily Walters.
The Royal Academy’s latest exhibition, Whistler’s Woman in White: Joanna Hiffernan, uses paintings, drawings and sketchbooks to shine a light on the woman behind the muse, the business manager and companion behind the model.
Isabella Hill revels in the surreal, macabre and joyously colourful works of Oriele Steiner, Caroline Wong and Hera Gedikoglu at Art City Works and Purslane’s online exhibition, Saturnalia.
Angry at the sexual harassment women experience, Molly Williams began to paint something disturbing but powerful. The resulting painting, Bloody Barbarella, was her way of speaking back and subverting the violence of misogyny.
Artists Kat Cutler-MacKenzie and Ben Caro discuss their collaborative work, O.o.o.h! , a semi-pedagogic, semi-absurd investigation into the menstrual cycle inspired, in part, by the thought of philosopher Graham Harman and the photographs of Rafal Miłach.
