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nkgopoleng

A review by Vusumzi Nkomo

Art and Other Actions: The circulation of excess in Paulo Nazareth’s ‘INTLANZI’

A review by Keely Shinners

Mutants, Matronae and Monsters: Pélagie Gbaguidi’s ‘The Colours are the Bark’

A review by Ashraf Jamal

Undivided Divinity: ‘Willem Boshoff: Assemblage and Collage’ at the Villa-Legodi Centre for...'

A review by Misha Krynauw

Divine Histories: Lady Skollie’s ‘GROOT GAT’ at Norval Foundation

A review by Zada Hanmer

Collective Memory: Sue Williamson’s ‘Short Stories in a Longer Tale’

A feature by Claudia Marion Stemberger

Just Be: MADEYOULOOK at the 60th Venice Biennale 2024

A review by Margot Dower

Opening the Archive: Gavin Jantjes at Whitechapel Gallery

A review by Georgia Munnik

Echoes of the Past: Untold Intimacies in ‘Seasons of Longing’ Film

A review by Ashraf Jamal

Spirits on a Human Path: ‘Ecospheres’ at the Joburg Contemporary Art Foundation

A review by David Mann

Sentimental assemblages: Stephané Conradie’s ‘Wegwysers deur die Blinkuur’

A feature by Robert Hamblin

Art and Athleticism: A reflection on the Olympics

A review by Voni Baloyi

The People’s Painter: Esther Mahlangu’s ‘Then I Knew I Was Good at Painting’...'

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Penny Siopis, Shame Pools, 2004. A three plate, colour etching with collaged found plastic objects on 300 gsm BFK Rives paper, 87 x 39.5 cm

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