Strange World Of
Bolt Thrower
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Craft/Work
Slipped Discs: Record Sleeves By Contemporary Artists
The metaphor of the LP record as a "canvas" has a far older vintage than the recent trend for s...
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Invasion Of The Bothy Thatchers: Uncanny Ethnography At Highland Folk Museum
I can count the things I have done outside my flat since March – that aren't a walk around the ...
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Portrait Of The Artist: Yves Peyré Remembers Francis Bacon
I first met Bacon, and even came to enjoy profound and very personal exchanges with him, thanks...
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Utopias Are Traps: Toyin Ojih Odutola On A Countervailing Theory
Toyin Ojih Odutola, A Forbidden Impulse from A Countervailing Theory (2019) © Toyin Ojih Odutola...
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Cool Runnings: Curator Linda Rocco On Art & Antarctica
In the Mesozoic era Antarctica split company with Australia. This final break with the once-sup...
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Flashing In Hackney: The Forgotten History Of London’s Radical Photography Collectives
Haywain with Cruise Missiles. Peter Kennard. Photomontage (1981) “Community photographers want ...
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Beyond The Vulva Mirror: Tantra At The British Museum
Sutapa Biswas, Housewives with Steak-Knives, 1985. Medium: oil, acrylics, pencil, collage, white...
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Do Or DIY: Andreas Gursky's First New Body Of Work In 3 Years
All images: Installation view, Andrew Gursky, Sprüth Magers, Berlin. Copyright Andreas Gursky / ...
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Dance, Dance, Dance: Elizabeth Price At Artangel
The films of Elizabeth Price are complex, playfully and intricately layered, and visually and a...
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Behind The Mask: John Stezaker's Surreal Assemblages
John Stezaker, Untitled, 1978–9. Silkscreen on canvas 48 1/8 in. (122 x 167.5 cm) In 1977, on t...
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Jane Weaver
Do You Have the Force? Jon Savage’s Alternate History of Electronic Music, 1978–82
Arovane
Carmen Villain
The Weather Station
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