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Printmaking

A review by Vusumzi Nkomo

Defending Life: Barthélémy Toguo’s ‘Bilongue’

A review by Lucienne Bestall

Once More, With Feeling: William Kentridge at Zeitz MOCAA

A review by Tymon Smith

Identification and Deconstruction: Mikhael Subotzky’s ‘Massive Nerve Corpus’

A review by Michael Smith

Decapitating Discourse: MJ Turpin’s ‘take me apart.’

A review by Misha Krynauw

Unwavering Versatility: Thania Petersen’s ‘IQRA’

A review by Tymon Smith

Imagined Topographies: Gerhard Marx’s ‘Ecstatic Archive’

A review by Thuli Gamedze

In the Between: Sam Nhlegethwa’s ‘Waiting’

A review by Lucienne Bestall

Repetition Fatigue: Dan Halter’s ‘Patience Can Cook a Stone’

A review by Tymon Smith

Beauty and Destruction: Matthew Hindley’s ‘Survey of Risk’

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’

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’

Siemon Allen, Damaged Archive (Soweto), 2016. Archival pigment ink on Hahnemühle German Etching paper, Image size 51 x 51cm; Paper size 55 x 55cm
A news item by Claire May van Blerck

Donation by ArtThrob to ILAM with every Siemon Allen print sold!

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