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A review by Keely Shinners

An enclosure and an opening: Jeanne Gaigher’s ‘tango’

A review by Nikita Keogotsitse

Elastic Beings: Simphiwe Ndzube’s ‘The Fantastic Ride to Gwadana’

A review by Barnabas Ticha Muvhuti

Rendering the Unseeable: on Pardon Mapondera

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

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Copyright © 2020 • ArtThrob

Design by Blackman Rossouw

Siemon Allen, Damaged Archive (Soweto), 2016. Archival pigment ink on Hahnemühle German Etching paper, Image size 51 x 51cm; Paper size 55 x 55cm

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