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.
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.
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.
Artist Yinka Shonibare curates a vibrant, magical and moving Summer Exhibition, one where a multiplicity of voices and artistic perspectives speak to the pain and progress of both past and present, writes Emily Walters.
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.