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Painting

A review by Scott Eric Williams

Anatomy of (Collective) Apathy: Blessing Ngobeni’s ‘Enemy of Foe’

A review by Lucienne Bestall

Pretty Vacant: ‘New Romantics’ at Barnard Gallery

A review by Tymon Smith

Action/Reaction: John Murray’s ‘Aftermath’

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’

A review by Scott Eric Williams

Blue-collar Banter: Rory Emmett and Ronald Muchatuta at the AVA Gallery

Pierre Fouché, Histeries, 2017. Encaustic on wood laminate
A review by Isabella Kuijers & Lloyd Pollak

Movement Ensnared: Pierre Fouché’s ‘Vreesaanjaende Verligting’

Sarah Biggs, Paradise, departing, 2016. Oil on paper, 77 x 62 cm
A review by Nicoletta Michaletos

Material Friction: Sarah Biggs’s ‘Waiting for Rain’

Coby Kennedy, The Coming Of The Thuggernaut, 2017. Bulletproof ballistic grade Kevlar, ink, acrylic gel, 114 x 125 cm
A feature by

Tim Leibbrandt

Sci-Fi Social Commentary: Coby Kennedy on ‘SKIN OF THE THUG’

Sanell Aggenbach Elysium, 2017. Oil on canvas, 100 x 127 cm
A review by Felix Kawitzky

Trace Decay: Sanell Aggenbach’s ‘Bend to Her Will’

Brett Murray, Again/Again (Monumental), 2015. Bronze, 250 x 182 x 265 cm
A review by Tymon Smith

😂 Until You 😭: Brett Murray’s ‘Again Again’

Blessing Ngobeni, Save This Democracy, 2016. Mixed media on canvas, 164 x 350 cm
A review by Motlatsi Khosi

Black Art, White Galleries: Blessing Ngobeni’s ‘Masked Reality’

Josie Grindrod at the Irma Stern Museum, Cape Town
A review by Anna Stielau

Rolling Lawns and Exorcisms: Josie Grindrod’s ‘Last Light’

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Claudette Schreuders, The Bystander 2. Lithographic print on cotton rag paper, 38 x 55.5 cm

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