The Best Of Times:
Mavis Staples
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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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Action, Time And Vision: Günter Brus Gets Dirty
A recent article by Mike Watson in ArtReview asks the question is art too polite to fight the f...
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Against Everything: Club 57 At MoMA
Acts of Live Art at Club 57. Pictured: Larry Ashton. 1980. Photo: Joesph Szkodzinski. Courtesy J...
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Astral Social Club & Grumbling Fur Time Machine Orchestra
Cate Le Bon
Stephen Shiell
Sonic Youth
Zurkas Tepla
Bruce Springsteen
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