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WHATIFTHEWORLD

A review by Sumayya Menezes

Between Worlds and the Sea: A reflection on KZN artists at the RMB Latitudes Art Fair 2024

A review by Misha Krynauw

Unearthing Layers: Chris Soal’s ‘Surface Tension’

A feature by Sean O'Toole

Painting now: Mia Chaplin, Jeanne Hoffman and Maja Marx

A review by Barnabas Ticha Muvhuti

An ode to women’s protests: Sepideh Mehraban’s ‘Give Me Liberty or Give Me Death’

A review by Nkgopoleng Moloi

Reparative sublation: Lungiswa Gqunta’s ‘Sleep in Witness’

A review by Nkgopoleng Moloi

Pleasurable and sensory: ‘Seeds of the Fig’

A review by Vusumzi Nkomo

Notes on soil & the subsurface: Inga Somdyala’s ‘ADAMAH’

A review by Catherine Rudolph

Screening Connectivity: ‘Not Angels or Algorithms, Only Human Error’ at WHATIFTHEWORLD

A feature by Ashraf Jamal

Grace of Abstraction: On Mia Thom, Chris Soal, Jennifer Morrison, and Mark Rautenbach

A review by Vusumzi Nkomo

New Lands: Asemahle Ntlonti’s ‘Nothwala impahlana’

A review by Tim Leibbrandt

Capitalocene Crustaceans : Cameron Platter’s ‘Solid Waste’

A review by Misha Krynauw

Conservation Entropy: Ruby Swinney’s ‘Hold Still’

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Copyright © 2020 • ArtThrob

Design by Blackman Rossouw

Richard Mudariki, Grilled, 2014. Chine-colle etching, 34 x 41 cm

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