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Review

A review by Ben Albertyn

Unserious Art: Notes on the Cape Town Art Fair

A review by Vusumzi Nkomo

Notes on precarity: Kemang Wa Lehulere’s ‘Bring Back Lost Love’

A review by Misha Krynauw

Pages as conduits: Dominique Cheminais’ ‘Things Done While Dreaming’

A review by Nkgopoleng Moloi

Pleasurable and sensory: ‘Seeds of the Fig’

A review by Barnabas Ticha Muvhuti

Foreground subaltern voices: Mapula Embroideries’ ‘Hands Become Voices for Our Planet’    

A review by Sonya Solanki

Grounding & generative: ‘Process’ at FEDE Arthouse

A review by Ashraf Jamal

Fresh and abuzz: ‘New Day’ at Graham Contemporary

A review by Annabelle Wienand

Contemplating the monumental: Ledelle Moe’s ‘Fold’

A review by Lindiwe Mngxitama

Inbetweeness, self-(re)invention and unease: ‘Modernist Identities in the Global South’ at...'

A review by Misha Krynauw

Songezo Zantsi’s ‘IINKUMBULO’

A review by Clare Patrick

Fragments and threads: Pippa Hetherington’s ‘Interlaced’

A review by Georgia Munnik

Wonders about the weight of Sundays: Dorothee Kreutzfeldt’s ‘the secret harpist’

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Design by Blackman Rossouw

Guy Tillim, Tshililo (right) and her friends share a one-roomed apartment in Cape Agulhas, Esselen Street, Hillbrow. Pigment inks on archival cotton rag paper, 42 x 59.4 cm

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