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Review

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 review by Misha Krynauw

Earnest Creation: Lady Skollie’s ‘Bound’

A review by Annabelle Wienand

Speak with the Eye: Frida Orupabo’s ‘Hours After’

A review by Keely Shinners

What Grows: Io Makandal’s ‘Terra Visions’

A review by Vusumzi Nkomo

New Lands: Asemahle Ntlonti’s ‘Nothwala impahlana’

A review by Nkgopoleng Moloi

Deep Seeing: ‘on sight: looking does not mean seeing’ at Michaelis Galleries

A review by Isabella Kuijers

A Hero’s Journey: Pamela Phatsimo Sunstrum’s ‘Battlecry’

A review by Catherine Rudolph

Emotional Cartography: Anna van der Ploeg’s ‘Map with Open Windows’

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’

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Design by Blackman Rossouw

William Kentridge, Act III scene 1, 2017. Linocut on paper with hand-colouring, 44 x 39.5cm

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