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Chad Rossouw

A review by Khumo Sebambo

Hybrids and Trans­formations: ‘Contemporary Female Identities in the Global South’ at...'

A review by Michael Smith

Poetic Dismantling: Gerhard Marx’s ‘Near Distant’

A feature by Tymon Smith

Making History: In Memory of Jürgen Schadeberg

A review by Keely Shinners

Let’s have a toast for the douche bags: Ed Young’s ‘I CAN SEE YOUR HOUSE FROM HERE’

A review by Isabella Kuijers

Suppress the face and head: On self-portraits, Georgina Gratrix and Shane Malone

A review by Keely Shinners

What’s been left behind: ‘Farewell to good good friends’ at SMITH

A story by Artthrob

Farewell to Good Good Friends: SMITH closes its doors

A review by Khumo Sebambo

In Front Of That Light: Athi-Patra Ruga’s ‘Interior/Exterior / Dramatis Personae’

A review by Dave Mann

Process and tension: Jessica Webster’s ‘A Horse with No Name’

A review by Nkgopoleng Moloi

The Mind of the Stairs: ‘La courte échelle’ at Goodman Gallery

A review by Keely Shinners

As below, so above: ‘Shaping Things’ at SMAC

A feature by Khumo Sebambo

Unfixed Unsettled Pink: On Yolanda Mazwana and Penny Siopis

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Copyright © 2020 • ArtThrob

Design by Blackman Rossouw

David Goldblatt, Three men rest at the side of the track between Bute Asbestos Mine and Heuningvlei in Northern Cape, 18 December 2002. Pigment inks on archival cotton rag, 42 x 51.5 cm

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