Baker's Dozen:
Shirley Collins
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Enter The Void: On Kode9 & A Brief History Of Nothing In Art
One of Ad Reinhardt’s Black Paintings… or one of Malevich’s… In the Spring of 2014, M...
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Digital Materialism: An Interview with Benedict Drew
Photograph by Charlotte Jopling, courtesy of the artist and Matt’s Gallery, London Ri...
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Artists Arranging Things Themselves: The Digressionary Subject
Floor Story (other people's wardrobes) (Madrid) by David Price Imagine a hypothetic...
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GHAOS Reigns: The Total Institutions of Reactor
“I went to a shed near the station in Nottingham. I was captured and interrogated.” –...
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Round Them Up And Shoot Them: Pick Of The Month’s Gallery Shows
Right Here, Right Now at The Lowry, Salford We are used to thinking of the internet as...
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An Electric Storm: Cerith Wyn Evans Interviewed
Photograph © White Cube (George Darrell) “In-betweenness has always been a bit of a c...
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Uncanny Flatlands: Wysing Art Centre at the Edge of the Real
All photographs by Paul Allitt, courtesy Wysing Art Centre I am inside the Wysing Art Cen...
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Auto-Constructing Abraham: From Frieze Masters to the Tate Modern
All photos by Andrew Dunkley ©TATE 2015 except where noted “Something … growing out o...
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Artist Run: A New Quietus Arts Feature - Inside No.w.here
no.w.here's 16mm contact printer "The thing about film," Karen Mirza says to me, "is tha...
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Falling Down The K-Hole: Art And Virality At The Frieze Art Fair
Kurimanzutto, by Frieze photographer “About a year and a half ago, we stepped inside the...
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