The Lead Review:
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The Question Of The Wrapper Design: Edward Bawden's Book Jackets
“May I blow my own trumpet – immodest tho’ it may seem – to tell you that I am particularly int...
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“What Nut Does The Human Finger Most Taste Like?”: A Party After The End Of The World
With the piss prez reneging on the Iran nuclear deal, the title of Forest Sound Theatre's new t...
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What You See Is What You Hear: Robbie Thomson Makes Art From Electricity
XFRMR, Robbie Thomson, Credit: Tommy Ga-Ken Wan Artist Robbie Thomson specialises in kinetic sc...
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Shouting In Colour: Takunda Regis Billiat And Gresham Tapiwa Nyaude
Kubatana, Kristin Hjellegjerde tells me, can be loosely translated from chiShona as “togetherne...
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Bodies Rest And Motion: Magali Reus At South London Gallery
If you travel to the South London Gallery by bus from central London, you will probably alight ...
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No More Parrillas In BA?: The Vivid Satire Of Marcos Lopez
We are back to the question of political art – how should artists respond to an age of Novichok...
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More Found Than Formed: The Divine Excrescence Of Joseph Beuys
Images: Courtesy Galerie Thaddaeus Ropac, London–Paris–Salzburg. Photo: Tom Carter There are ma...
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The Mystery Of Things: An Interview With Sue Tompkins
Sue Tompkins at Lydgalleriet, Bergen, for Borealis Festival Credit: Thor Brødreskift/Borealis “...
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Transitional Subjects: Hannah Black & Bonaventure
Hannah Black, The Situation, 2017 & Transitional Objects, 2017. Exhibition view o...
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The London Scene: Recalling 60s Soho With Bacon, Freud, & Kossoff
Leon Kossoff, Children's Swimming Pool, 1969 If we had been in London in the spring of 1962 I w...
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