A Quietus Interview:
Annie
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Mountain View With Poo Emoji: Hell Gette's Landscape 3.0
The painting depicts a landscape on a stormy day. Mountains like jagged incisors. A line of tre...
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A Spontaneous Desire To Make Stuff: Keith Haring On The BBC
When Keith Haring arrived in New York in 1978, he was just a twenty year-old kid from Kurtztown...
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Leaves Left: Works On Paper, Online At Cob Gallery
Rafaela De Ascanio (2019) 26 Weeks, I, II, III Despite the slow thaw of lockdown measures in th...
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Away With The Fairies: A Conversation With Mark Leckey
All images: Mark Leckey, Dream English Kid, 1964 - 1999 AD, 2015, 4:3 film, 5.1 surround sound, ...
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Bristol’s Innovative Sculpture: Plinth, Statue, Water, & Space
Bristol’s latest contribution to the art world has been an instant smash hit. Images of the Col...
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An Exactly Drawn Dawn: How Factory Revolutionised Record Design
1978: year zero for Factory, and Britain was still in the dark ages, at least as far as design ...
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A Pitch Dark Void: Twenty Years Of The Tate Modern's Turbine Hall
Juan Muñoz, Double Bind (June 2001 – March 2002) Double Bind was the second Turbine Hall commi...
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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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