The Lead Review:
Nkisi
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Necessary Detours: David Salle's Comic Turn
David Salle, Autumn Rhythm (2018), oil and acrylic on linen © David Salle/VAGA at ARS, NY and DA...
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The Artist As Brand Manager: Joana Vasconcelos at Serralves
I went to see Joana Vasconcelos’s exhibition at Serralves to find out whether she was the Portu...
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Everything Must Go: Mike Nelson Inters British Industry
Installation view of The Asset Strippers at Tate Britain, 2019. Photo: Tate (Matt Greenwood Mik...
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Love Is A Battlefield: The Brutal Visions Of Hyon Gyon
There are creatures, demons and people. Terrible things are happening to them. A woman force-fe...
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Still Life, With Isoptera: Manny Faber's Termite Art
Manny Farber, Domestic Movies, 1985, oil on board, 96 × 96 in. (243.84 × 243.84 cm), ResMed coll...
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Once Upon A Time In America: The Violence Of Cady Noland
Cady Noland, Tower of Terror (back), 1993/1994, Glenstone Museum, Potomac, Maryland (US) Install...
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Marshmallow World: Henry Hudson At Hannah Barry
nothing sticks to nothing, 2018 – 2019, 135 Scagliola floor tiles (detail) Dimensions variable. ...
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A Chance To Cut: Ed Atkins Curates Stan Brakhage, David Kamp
The Act of Seeing With One’s Own Eyes is a project curated by the British artist Ed Atkins that...
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The Poetics Of Space: Ana Santos & Carlos Bunga At MAAT, Lisbon
Ana Santos does not strictly define her work as sculpture. She sees it more as a process of obj...
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Cloud Sculptors: An Interview With Frederik Nystrup-Larsen
Frederik Nystrup-Larsen is a young artist based between Copenhagen and London. Listed in the Ne...
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