Issue 206

Showing results 1-16 of 16

Some thoughts on transience, in art and life

BY Jennifer Higgie |

‘Kara Walker reinvents painting and drawing’s conventions, while talking about ideas that are epic in scale and deep in blood,’ Als writes

BY Hilton Als |

As the artist’s largest survey to date opens at Zeitz MoCAA and Norval Foundation, Cape Town, Sean O’Toole examines his dadaist lexicon 

BY Sean O’Toole |

In a special photo essay, the artist places her body ‘in the line of danger, admiration, rejection, description’

BY Collier Schorr |

The artist’s physically gruelling performances reflect on the black body and the possibilities of resurrection

BY Evan Moffitt |

The restless, rageful ‘No Home Record’ lures as much as it discomfits

BY Hermione Hoby |

Q. What could you imagine doing if you didn’t do what you do? A. Reading all day 

BY ​Meredith Monk |

‘Surge’ finds uneasy resonances between the 1981 New Cross fire and more recent tragedies

BY Marek Sullivan |

Motion and migration in the paintings of Frank Bowling

BY Negar Azimi |

Mimi Chu on Robertas Narkus, Nástio Mosquito, Nora Turato and more

BY Mimi Chu |

From blues to jazz to the baroque – new fiction from Claire-Louise Bennett

BY Claire-Louise Bennett |

Johnston showed how writing was performance and politics at once

BY Jennifer Kabat |

In Harding’s paintings and sculpture, the past and the present merge in a potent reflection on contemporary Australia

BY ​Hendrik Folkerts |

Drawing on his dancer’s training, Laris Cohen radically presents his body simply ‘as is’ in his performances

BY Martha Joseph |

Barbara Casavecchia on the 2019 Golden Lion-winning artist

BY Barbara Casavecchia |

As the playwright’s ‘Slave Play’ reaches a wider audience, Jameson Fitzpatrick looks at his work so far

BY Jameson Fitzpatrick |