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In Maximillian William’s recent exhibition, Embodying Anew, work by Thaddeus Moseley, Magdalene Odundo and Simone Leigh challenges Western appropriation of African aesthetics and celebrates the cultural practices of indigenous Africa.
Read More “They Come to You, Embodying Anew at the Maximillian William, London”
Amalie Smith’s exciting new novel, Marble, sensuously intertwines the story and discoveries of its titular heroine with those of pioneering sculptor Anne Marie Carl-Nielsen, who lived and worked 110 years earlier. In this preview, Marble reflects on Carl-Nielsen’s time in Athens and the new material reality open to her when separated from her lover.
Read More “Preview of Amalie Smith’s Marble, translated by Jennifer Russell”
Faith Ringgold’s striking painting, #19 US Postage Stamp, 1967, captures the complexities of the Black Power movement in 60s America and the white supremacist structures African Americans were subject to. But it serves as a metaphor for our times too, writes Hannah Hutchings-Georgiou.
Read More “Postcards in Isolation 18: Faith Ringgold, #19 US Postage Stamp Commemorating the Advent of Black Power, 1967”
Reflecting on the life of Camille Claudel through Rodin’s 1884 bronze bust of the artist, Selin Genc considers her own experience of isolation and celebrates her autonomy even in the midst of lockdown.
Read More “Postcards in Isolation 13: Rodin, Bust of Camille Claudel, 1884”
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.
Read More “Postcards in Isolation 7: Mona Hatoum, Hot Spot III, 2009”
Emma West discovered Barbara Hepworth’s sculpture, Spring, 1965, at the beginning of what would become a pilgrimage of the sculptor’s work around the UK. Here, she reflects on Hepworth’s sculptures in situ, the importance of touch and having hope for life after lockdown.
Read More “Postcards in Isolation 6: Barbara Hepworth, Spring, 1965”
In light of Amanda Parer’s installation, Intrude, being shown at Liverpool’s Exchange Flags, Sumaya Kassim considers the environmental and cultural devastation of white colonialism in Australia.
Read More “Follow the White Rabbit: the ‘Anthropocene’, Australia and whiteness as pestilence in Amanda Parer’s Intrude at Liverpool Light Show”
The Royal Academy’s retrospective of Antony Gormley’s work is an awe-inspiring, immersive experience that brings the outdoors inside, writes our illustrator Sara Rivers.
Read More “Antony Gormley at the Royal Academy”
Tate Modern’s latest retrospective of the Russian avant-garde artist, Natalia Goncharova, is a triumph of colour, style and artistic brilliance, writes our arts contributor Gabriela Frost.
Read More “Natalia Goncharova at Tate Modern”
Tate Modern opens a door into the deliciously dark, intimate and, at times, comical world of Dorothea Tanning, a surrealist for our times.
Read More “Dorothea Tanning at Tate Modern”