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Review

Michele Mathison Intrusion, 2017. Pallisandro marble
A review by Isabella Kuijers

The Movement of Stone: Michele Mathison’s ‘States of Emergence’

Maaike Bakker, The error message just keeps coming up
A review by Siya Masuku

Endless Possibilities: Maaike Bakker’s ‘Beyond the Vanishing Point’

Guy Tillim Anton Lembede Street, Durban, 2016. Archival pigment ink on 180g cotton paper
A review by

Chad Rossouw

Tillim and the Demanding Gap: Guy Tillim’s ‘Museum of the Revolution’

A review by Vincent Bezuidenhout

Without Walls: South Africa at Performa 17

Nigel Mullins, Artefacts from the Age of Conquest , 2017. Oil on Superwood and copper wire
A review by Dave Mann

Inside and Outside the Image: Nigel Mullins’ ‘Artefacts from the Anthropocene’

A review by Nolan Stevens

Woven Narratives: Priya Ramrahka’s ‘A Pan African, Perspective 1950 – 1968’

A review by Nicola Kritzinger

What you need in the afterlife: Steven Cohen’s ‘put your heart under your feet… and walk!’

Kapwani Kiwanga, The Sun Never Sets, 2017. HD video, 10 minutes
A review by Sipho Mdanda

In Search of Hidden Truths: Kapwani Kiwanga’s ‘The Sun Never Sets’

Kudzanai Chiurai, We Live in Silence XVIIII, 2017. Pigment ink on fibre paper, 130 x 173.5 cm
A review by Motlatsi Khosi

Waking From Dreams of Democracy: Kudzanai Chiurai’s ‘We Live in Silence’

A review by Isabella Kuijers

Outside of Time: ‘A Continent Beyond’ at Gallery MOMO

Moshekwa Langa, Overseas II , 2017. Mixed media on paper, Right panel of diptych, 100 x 140 cm
A review by Percy Mabandu

Mining Memories for Meaning: Moshekwa Langa’s ‘Fugitive’

Faith XLVII & Imraan Christian, 21.10.2015 (I) , 2016. Collage on Board, 48 x 63 cm
A review by Valeria Geselev

14 Notes on ‘Dislocation’ at Everard Read, Cape Town

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Willem Boshoff, Political Candy Floss, 2009. A hand-printed single-colour Drypoint etching on Hahnemuhle Natural White 300gsm, Each: 78 x 106 cm

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