Herzog's Fitzcarraldo
A Blockbuster Ambition
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Touching From A Distance: An Interview With Tarek Atoui
Tarek Atoui performing at the opening of Tarek Atoui: Cycles in 11. Sharjah Art Foundation, 2020...
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Thoroughly Modern Richie: A Hamilton Re(tro)spective At Pallant House, Chichester
Richard Hamilton, Just what is it that makes today's homes so different? 1992, digital print on ...
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Hard Wet Epic: The Fluid Seductions Of Lynette Yiadom-Boakye
Lynette Yiadom-Boakye, Tie the Temptress to the Trojan 2018. Collection of Michael Bertrand, Tor...
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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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