T
Contributor
Tom Jeffreys

Tom Jeffreys is a writer based in Edinburgh. He is the author of two books: The White Birch: A Russian Reflection (Little, Brown, 2021) and Signal Failure: London to Birmingham, HS2 on foot (Influx Press, 2017).

The 2023 edition of the biennial addresses the war in Ukraine alongside other conflicts and the related repression of dissent across the globe

BY Tom Jeffreys |

A show at Alison Jacques highlights the artist’s technical prowess and use of colour, but lacks critical discussion of her processes

BY Tom Jeffreys |

From the peat of the Scottish hill-tops, the artist embraces a material language of ritualism and transformation

BY Tom Jeffreys |

Tom Jeffreys speaks with the festival director ahead of her first edition in charge of the programme

BY Tom Jeffreys |

From Emily Kraus’s big, beguiling canvases at The Sunday Painter to Amanda Moström’s first solo exhibition with Rose Easton

BY Tom Jeffreys |

At Camden Art Centre, the artist’s first solo UK institutional show is imbued with latent dread

BY Tom Jeffreys |

Tom Jeffreys interviews the exhibition’s co-curator, Ksenia Malykh, about the significance of staging an exhibition in wartime, and the message it sends to Ukrainians and the world

BY Tom Jeffreys AND Ksenia Malykh |

This year's edition, ‘Persons, Persone, Personen’, celebrates ecologically minded contemporary art that is joyful and sensual

BY Tom Jeffreys |

As the COP26 conference approaches, how individual artists and artist institutions are responding to the demands of the climate crisis

BY Tom Jeffreys |

At Fruitmarket, Edinburgh, the artist’s retrospective approaches materials in a child-like manner with little regard for the objects’ origins or histories

BY Tom Jeffreys |

The artist’s new show at Dundee Contemporary Arts explores the intense physicality of collective sorrow through the body as landscape

BY Tom Jeffreys |

From Cample Line in rural Scotland to collective Myvillages, artists are reconsidering their relationship to ‘the rural’

BY Tom Jeffreys |

Television has long celebrated the before-and-after reveal of a freshly cleaned masterpiece – now many museums are showcasing the hidden art too

BY Tom Jeffreys |

The influence of Isaac Levitan’s 1897 painting Spring, High Water on 20th-century film

BY Tom Jeffreys |

Considering our scripted future at Helsinki Contemporary 

BY Tom Jeffreys |

‘It’s all there: charm, humour, ethics, friendship’

BY Tom Jeffreys |

Why is the figure of the witch and magical practice making a 21st-century comeback in the arts?

BY Tom Jeffreys |

For 112 days Sara Morawetz retraced the 2,000 kilometre journey of two 18th century astronomers, tasked with defining the length of a metre

BY Tom Jeffreys |

Featuring a proposal for a circular motorway around a mountain peak, the ‘weird and absurd’ work of the Russia-based artist

BY Tom Jeffreys |

Jostling with its loud festival neighbours, the UK’s best attended annual visual art festival conducts a polyphonic debate with art of the past

BY Tom Jeffreys |