Scream Queens:
2020's Feminist Horror
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A Thousand Words: Artists, Critics, & Curators Choose Books On Art
I had wanted to be a fictional art critic. Not that I once wished to become, somehow, unreal, t...
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Power & Pain, Love & Madness: Brett Anderson Curates The Collections of Art UK
Long before he sung of how paint “gets you going like you wanna be got” on the early Suede trac...
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The Universal: An Interview With Olia Lialina
All photos by Max Colson It is one of the great ironies of the present situation that what may ...
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Farewell To The Flesh: Alina Szapocznikow's Body Parts
Alina Szapocznikow, Noga (Leg, 1962, ©ADAGP Paris. Courtesy the estate of Alina Szapocznikow, Pi...
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Interior, With Laptop: On Art At Home When There's Nowhere Else To Go
Domestic Dutch Interior, Quiringh Gerritsz van Brekelenkam (after 1622–1669 or after) Photo cred...
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A Beach In A Box: Sun & Sea in Bergen
Photo by Johanne Karlsrud It’s the beginning of March and I’m at a music festival in Norway. Th...
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Time After Time: Athanasios Argianas' Hollowed Water Playlist
Hollowed Water was an exhibition of new work in music, sculpture, and video by Greek/British ar...
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Violence Is Everyone: An Interview With Jordan Wolfson
Installation view, Jordan Wolfson, Colored sculpture, 2016, South Tank, Tate Modern, London, 03 ...
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Artist Run: Daniel Hosego At Atom Gallery
all images courtesy Atom Gallery Nestled in the heart of north London is the vibrant, independe...
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Failing Better: The Radical Pedagogies Of Adelita Husni-Bey
“What would it mean if subjects were formed differently?” Adelita Husni-Bey asks over a glitchi...
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