S
Contributor
Sam Thorne

Sam Thorne is director of Nottingham Contemporary, UK, and a contributing editor of frieze

Fan Letter

‘It’s a sinewy and organic thing, almost threatening, in an otherwise boring district of embassies and hotels’

BY Sam Thorne | 28 JAN 19

Six-years in the making, the comprehensive ‘Museum of Obsessions’ tracks the life and work of the prolific and enormously ambitious curator 

BY Sam Thorne | 31 AUG 18

Sam Thorne on the abundance of artists creating clouds, or works that cloud our vision 

BY Sam Thorne | 12 MAR 18

A new book on the legendary curator Walter Hopps 

BY Sam Thorne | 13 SEP 17

What are the implications of documenta 14’s focus on the aural?

BY Sam Thorne | 07 JUN 17

Exhibitions from, or about, the past that help make sense of the present 

BY Sam Thorne | 20 MAR 17

Recently released online, MoMA’s vast exhibitions archive shakes up the modernist canon

BY Sam Thorne | 06 JAN 17

How are art schools changing?

BY Sam Thorne | 18 SEP 16

The rise of the artist-curated biennial

BY Sam Thorne | 11 JUN 16

Is a new greenhouse in Mexico a blueprint for the museum of the future?

BY Sam Thorne | 11 MAR 16

Sam Thorne invites ten curators to reveal how they envision the museum 25 years from now

BY Sam Thorne | 25 NOV 15

Sam Thorne discusses activism, collaboration and the uses of absurdity with Ahmet Öğüt

BY Sam Thorne | 21 AUG 15

56th Venice Biennale, various venues, Italy

BY Sam Thorne | 28 MAY 15

Last spring I moved from London, where I'd been living for seven years, to St Ives. A mere 5½-hour train journey from the capital (or, if you're intrepid, a night on the sleeper train), the small Cornish town is perched close to Britain's southwestern tip. It's been a home to artists and writers since at least the 1880s. As the artist Linder – the inaugural resident artist at Tate St Ives, where I work – pointed out to me soon after I arrived in March, it's a place where the ghosts of modernism are everywhere palpable. It's also a place where, thanks to the legacy of artist-potters Bernard Leach and Shoji Hamada, the veil between art and craft feels especially thin.

BY Sam Thorne | 06 JAN 15

A Tetris stack on the bank of the Kura River

BY Sam Thorne | 15 DEC 14

Museums take on social practice

BY Sam Thorne | 20 MAR 14

Reading as information control: the poet Tan Lin talks to Sam Thorne

BY Sam Thorne | 12 MAR 14