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Chad Rossouw

A student review by Cheyenne Fernánda Miller

Victimless Fantasy: Christaan Conradie’s ‘Against A Narrow Heart’

A student review by Aidan Murgatroyd

The crisis of the individual: Meshac Gaba’s ‘Citoyen Du Monde’

A student review by Anya Brilus

Beauty in age: Christiaan Conradie’s ‘Against a Narrow Heart’

A student review by Isabella George

A ghost language: Isaac Julien’s ‘Fantôme Créole’

A student review by Angelina Wicker

What we want to hear: Alfredo Jaar’s ‘The Rwanda Project’

A review by Keely Shinners

Caught in a Boundary: Wim Botha’s ‘The River’

A review by Lukho Witbooi

Earth and Self: Michele Mathison’s ‘Over and Over’

A review by Nikita Keogotsitse

Material Frequencies: Paul Maheke’s ‘Vanille Bleu’

A review by

Chad Rossouw

Portfolio 2: Slices of history

A review by Tymon Smith

Platform Visibility: ‘Photographs in Our Mother Tongue’ at Standard Bank Gallery

A review by Fadzai Muchemwa

A History of Disruption: Helena Uambembe’s ‘Commander Nel’s Archive’

A review by Michael Smith

Glimpse the Machinery: Deborah Poynton’s ‘Proverb’

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Willem Boshoff, Political Candy Floss, 2009. A hand-printed single-colour Drypoint etching on Hahnemuhle Natural White 300gsm, Each: 78 x 106 cm

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