A Quietus Interview:
Black Midi
Craft/Work
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Craft/Work
Robbing The Diseased Society: David Wojnarowicz In New York
David Wojnarowicz(1954-1992), Untitled (One day this kid . . .), 1990-91. Photostat mounted on b...
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Visual Overload: WEIRDCORE Discusses His Craft and Collaborators
Think of a musical artist. Odds are you’ve conjured up an image in your head rather than a soun...
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Twittering Machines: The Surreal World of Les Shadoks
Something strange appeared in the skies over Annecy on Valentine’s Day, 1973. “My wife was prep...
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Hedge Walking: The Land Art Of Andy Goldsworthy
Sometimes when walking in nature something uncanny may reveal itself. A group of trees might mo...
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(An)Other Space: Oren Pinhassi's Second Nature
The air looked cooler inside, somehow. Stifled by the heat and close sweat of London’s heatwave...
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Here Comes The Mirror Man: Mark Wallinger In Hastings
Birdman (detail; 2018) Marc Wallinger. Archival Digital Prints on Diband. Courtesy the artist an...
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Attention Must Be Paid: Bruce Nauman In Basel
Bruce Nauman, Eating My Words from the portfolio Eleven Color Photographs, 1966–67/1970/2007 Tin...
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Moments Of Respite: Curator Seán Elder On Tako Taal & Rami George
Residue, Tako Taal (2018), Grand Union (Photo credit: Patrick Dandy) Inherited Premises is a sh...
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Too Cool For School: Hopper, Hartley, Demuth At The Ashmolean
Charles Sheeler (1883–1965), Water, 1945, Oil on canvas, 61 x 74.3 cm, Metropolitan Museum of Ar...
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Craft/Work
Abject Luxury: The Legacy Of Martin Margiela
Martin Margiela, waistcoat, Spring-Summer 1990. Made from slashed posters overlaid on a cotton b...
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Jay Som 
The Hold Steady
Joel Oppenheimer / Hans Plomp / Piero Heliczer
Blanck Mass
Haiku Salut
Sharky
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