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A review by Vusumzi Nkomo

The Time of Waiting: Senzeni Marasela’s ‘Waiting for Gebane’

A feature by Misha Krynauw

Colouring Skin: On Tizta Berhanu, Thembinkosi Goniwe, and Dada Khanyisa

A feature by Ashraf Jamal

The Morality of Things: On Kendell Geers

A feature by Chad Rossouw

Epiphany and Fragments: Simphiwe Ndzube, Pamela Phatsimo Sunstrum and Athi-Patra Ruga

A review by Khumo Sebambo

The Magic of Her Kingdom: Cassi Namoda’s ‘To Live Long is to See Much’

A review by Vusumzi Nkomo

Carving Otherwise Futures: Jackson Hlungwani’s ‘Alt and Omega’

A review by Keely Shinners

The Catalyst, Not the Error: Mame-Diarra Niang’s ‘Call Me When You Get There’

A feature by Ashraf Jamal

Bad Education: Kemang Wa Lehulere

A feature by Nkgopoleng Moloi

Sitting Together in the Darkness: Lindokuhle Sobekwa, Covid and Anxiety

A review by Misha Krynauw

Earnest Creation: Lady Skollie’s ‘Bound’

A feature by Tymon Smith

Where AR we going?: Online experience at FNB Art Joburg

A feature by Gemma Hart

Different Energies: FNB Art Prize Winner Lady Skollie

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Copyright © 2020 • ArtThrob

Design by Blackman Rossouw

William Kentridge, Black Monkey Thorn. A chine-collé silhouetted image on de-acidified book pages. Black Monkey Thorn forms part of his analysis of the forms of different trees indigenous to South Africa. Each impression in the edition has a different book page, 27 x 32 cm

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