BRIGHTON, UK — In an age of cuddly brands that want to be your friend, these products offer a chance to connect with real people, and the overall look echoes bustling market stalls rather than distant marketing brainstorms.
NOTTINGHAM, UK — Between the early 1960s and mid-1980s, the country once known as Yugoslavia was an anomaly: a socialist state which allowed free travel to the West and promoted “self-management” rather than bureaucratic repression; a dictatorship which promoted decentralization and free expression.
BRIGHTON, UK — To call his work colorful, flamboyant, or camp would be to give the wrong impression of John Walter.
BRIGHTON, UK — Shona Illingworth demonstrates truths about the way we remember — and, more crucially, the way we forget.
LONDON — To note that Larry Bell was a player in the California-based movement Light and Space does not prepare you for his latest show in London.
OSLO, Norway — What might for some artists constitute a proud moment, appears to be something of a jape for the Chapman brothers.
LONDON — Theaster Gates’s latest show at White Cube is, surprisingly, largely limited to paintings and sculptures.
BRIGHTON, UK — Brighton Festival and HOUSE 2015, a contemporary visual arts festival, have put up their headline artist in a hotel notable for its design and feng shui.
LONDON — The Scottish, London-based artist Ruth Ewan is being perfectly reasonable and polite when she says of the British monarchy: “It’s going to have to go at some point. Whether it’s through social struggle, or a natural event, they’re not going to be around forever.”
ROCHESTER, UK — Thanks to an association with Charles Dickens, North Kent is better known for literature than for contemporary art. But a new project by Adam Chodzko connects the two.
LONDON — Dr. Brad Butler, radical filmmaker, contemporary artist, and international traveller, is bantering with the down-to-earth staff of a bustling London café.
Global recessions and armed crackdowns on protests are undoubtedly bad for art, but the old adage that hardship and suffering fuels creativity comes to mind when looking back at Brazil in the 1970s and considering the improbable success of Galeria Luisa Strina.