The artist on the women Surrealists whose visions of the self, gender, emotion and transformation have influenced her own work
What do art and cheerleading have in common? Moon thinks they both come from the core
Rodney McMillian on how work of his former students work is ‘a way to digest how ideas about race, radicalism and class are negotiated'
Shawanda Corbett, Lubaina Himid, Sohrab Hura, Liz Johnson Artur, David Musgrave, Julian Stair and Nicola Tyson select works by some of their favourite artists
On Eva Hesse and Frida Kahlo
Hurvin Anderson, Artur Barrio, Renate Bertlmann, Polly Braden, Matt Keegan and Sergio Lombardo discuss the artworks that have stuck with them
‘Eichwald often reveals her journey through her direct, yet humorous and heady titles’
‘Green’s installation doesn’t exist to serve as evidence of well-established narratives’
‘Fragments of improvized poetry came together and devoured one another’
‘She has such authority in her tangled daubs and streaks’
‘I love the sense of compulsion and joy present in this painting’
‘The fact that it was most likely made with recycled fabric touches me immensely’
‘I have learned from John that you don’t need to shout in order to make an impact’
‘When her mother died, she stopped talking. What is there to say when all is lost?’
‘Hesse was an adventurer and brave with her materials’
‘Kahlo’s dresses, corsets and shoes took on the shapes of her love, pain and identity, still palpable 58 years after her death’
‘Truitt’s sculptures add depth and dimension to minimalist shapes and monochrome surfaces’
Abdul Hay Mosallam Zarara, ‘Chilean Struggle’ series, 1985
Marc Camille Chaimowicz, Enough Tiranny, 1972
Renée Green, Import/Export Funk Office, 1992
