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Anna Stielau

A review by Anna Stielau

The Difference Between Losing and Getting Lost: Willem Boshoff’s ‘Word Woes’

Nicholas Hlobo, Sewing Saw, 2016. Installation view and detail from performance: Stevenson, Cape Town
A review by Anna Stielau

Enigmatic Yarn: Nicholas Hlobo’s ‘Sewing Saw’

Josie Grindrod at the Irma Stern Museum, Cape Town
A review by Anna Stielau

Rolling Lawns and Exorcisms: Josie Grindrod’s ‘Last Light’

Igshaan Adams, Oorskot ,2016. Installation view: blank projects, Cape Town
A review by Anna Stielau

Stranger Things: Igshaan Adams’ ‘Oorskot’

Marlene Steyn, The End is Located Underneath Her Third Armpit (if the muscle is flexed), 2015. Installation view: Commune.1
A review by Anna Stielau

Somewhere between Where’s Wally? and the Kama Sutra: Marlene Steyn’s Interior Worlds

Athi-Patra Ruga, The Elder of Azania, 2015. Performance: National Arts Festival
A review by Anna Stielau

An Extravagant Vehicle for Fantastical Content: Athi-Patra Ruga’s The Elder of Azania

Pierre Fouché, James (detail), 2015. Silk floss, wood, brass pins, 14.4 x 32.8 cm
A review by Anna Stielau

Wound Thread: Pierre Fouché’s lacemaking

Penny Siopis Pinky Pinky series, 2002-2005. Installation of 10 paintings, oil and found objects on canvas
A review by Anna Stielau

Penny Siopis’ Time and Again

Olivié Keck The After Party (detail), 2014. Linen, silk and embroidery cotton, 120 x 147 cm
A review by Anna Stielau

The Looming Presence of Olivié Keck

David Lurie Refugee from DRC, Zonnebloem, Cape Town, 2013. Digital print on fibre-based archival paper, 65 x 97 cm
A review by Anna Stielau

Morning after Dark

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Cameron Platter, Sex Slaves. Silkscreen on archival cotton rag paper, 66.5 x 50.5 cm

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