AUDREY KADJAR reviews Mona Hatoum’s retrospective at the Tate Modern. With a radical body of work that eludes any attempt at categorisation, Mona Hatoum..
ALASTAIR CURTIS reviews ‘Painters’ Paintings: From Freud to Van Dyck’ at The National Gallery. It’s often said that our belongings make up who we are...
ISABELLE BUCKLOW reviews Botticelli Reimagined at the V&A. The V&A’s current exhibition Botticelli Reimagined begins in darkness. A projector beams footage of a sleeping Sean..
ELIZABETH ATANASSOVA reviews States of Mind at the Wellcome Collection. The States of Mind: Tracing the Edge of Consciousness exhibition at the Wellcome Collection is..
AMY MACPHERSON reviews William Hogarth’s mezzotint of Sarah Malcolm as part of our ‘GALLERIES – NO SALARIES’ series. It is difficult to maintain objectivity when..
EMILY GRUZDOWICH analyses George Stubbs’ Whistlejacket and makes a case for equine painting for ‘GALLERIES- NO SALARY’. Pulsating, blood courses through the creature’s veins. Rearing,..
OLIVIA BOUZYK reviews ‘Mad About The Boy’ at the Fashion Space Gallery. It is not an oversimplification to state that the fashion industry is obsessed..
DAISY CLAGUE reviews The Saatchi Gallery’s first all female exhibition. The Saatchi Gallery’s Champagne Life takes its title from the work of American artist Julia..
AUDREY KADJAR reviews The World Goes Pop at the Tate Modern Should Pop Art be remembered, as Richard Hamilton’s famously defines it, as “popular, transient, expendable, low-cost,..
CHRISTABEL DODMAN LEAR reviews Soaring Flight: Peter Lanyon’s Gliding Paintings’ at the Courtauld Gallery. The Courtauld Gallery’s retrospective of Peter Lanyon’s work is the first..
EMILY GRUZDOWICH reviews Frank Auerbach’s retrospective at the Tate Britain. In his chronicling of the passage of time, Frank Auerbach fashions tactile works of bygone..
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