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Review

A review by Barnabas Ticha Muvhuti

Coded Inscriptions: Blessing Ngobeni’s ‘Chaotic Pleasure’

A review by Misha Krynauw

Dialogues in Waiting: ‘KWAAI Vol.3’ at Eclectica Contemporary

A review by Nkgopoleng Moloi

It is what it is: ruby onyinyechi amanze’s ‘the ones that stayed’

A review by Ashraf Jamal

Spin Cycle: ‘Wild Wild Life’ at Glen Carlou

A review by Vusumzi Nkomo

Ontological Recuperation: ‘Authenticité’ at Goodman Gallery

A review by Misha Krynauw

A Room with Many Views: ‘A Golden Spike’ at Goodman

A review by Keely Shinners

Liberatory and Corrupt: Scum Boy’s online practice

A review by Keely Shinners

Walk through, walk away: Thenjiwe Niki Nkosi’s ‘Gymnasium’

A review by Lucia Gcingca

Natal Tongue: King Debs’ ‘Bokamoso (Future)’

A review by Ashraf Jamal

Hesitant Corpor­eality: Stephen Allwright’s ‘Broken Face Soliloquies’

A review by Dave Mann

Mapping catastrophes: Pebofatso Mokoena’s ‘Internal Probes’

A review by Tim Leibbrandt

Capitalocene Crustaceans : Cameron Platter’s ‘Solid Waste’

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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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