Welling’s veneration of brutalist concrete borders on fetish.
Local-art-centre retro exposes the breakdown of the feminist art project.
It is too late to save the regime, yet too early to mourn it.
Linder’s second-wave feminist propositions were ruthlessly superseded.
Prinos’ frames are precise, tight, and formal, as though the street were his studio.
There’s no conversation, no challenge, no win.
It’s too early for a funeral, yet there’s no other reprieve in this commodity cult.
Etheridge’s method finds an extreme in this tiny pass-by display.
The illusion is as good as complete.
Each show lasts no more than three hours, and it’s bring-your-own booze.
Nan Goldin’s oeuvre is a testament to the power of art over an artist in the service of addictive images.
Singh’s pictures cold have been made by at least three other Frith Street artists.
This project has no room for breath and even less for context.
These ideas can’t last beyond the pop-up show’s closing date.
How can art improve the lives of communities? Wrong answers only.
Repetition and framing are photography’s greatest tricks.
There will be no women when this spell breaks. And no need for magic, either.
Bodies clash with lights in front of Traoré’s Narcissus camera.
In the age of the decolonial, this is as quaint as it is outmoded
Such ‘80s nostalgia for meaning before history’s end is a comfort blanket.
Aesthetic cognition or crossword puzzles only rarely bring such perverse pleasure.
This exhibition mixes the woman and her legend, but without the air of mystery she enjoyed during her lifetime.
In this game of aesthetic cognition, the idea which survives is of the artist thinking.
Close up, Petersen’s innocents today conjure ideas of redneck resistance. At scale, of state-marketed utopia. The middle ground is envy.
The artist must choose which ground is best ceded.
Willats orders fragments of time, matter, and space into data packets on one side of the flow chart and puts them to use on the other.
Meaning parts with the image in this exhibition, never to return. Post-structuralism triumphs.
Too many deadpan landscape photographs turn intrigue into fatigue and into paralysis.
The more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn’t true.
Since the Vietnam War the way we see conflict – through film, photographs, and pixels – has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted.
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