TEST Presents…The Bitter Tears of Petra von Kant, Town Hall Hotel, London.

Text by Emily Sack TEST Presents… provides Londoners with a different take on an art event. The online fashion, photography, and film magazine provides monthly…

Literary Art: Covergence, Golden Thread Gallery, Belfast.

Text by Angela Darby Literature has long been an essential driving force behind many contemporary visual artists’ practice. The exhibition Convergence at Golden Thread Gallery…

Three-Dimensional Bibliography: The Book on Books on Artists’ Books, Bloomberg Space, London.

Text by Lara Cory Arnaud Desjardin is a French-born, London artist and author of catalogue: The Everyday Press (2011) and Business as Usual (2010). He…

Performative Landscapes: Shaun Gladwell: Stereo Sequences, ACMI, Melbourne.

Text by Emily Bour Arriving at Shaun Gladwell’s Stereo Sequences exhibition, currently showing at the Australian Center for the Moving Image in Melbourne (ACMI), one…

Multi Sensory Experiences: InTransit Festival, 22-31 July, London.

Text by Nathan Breeze Built in 1962 by the Architects Robert Matthew, Johnson-Marshall and Partners, The Commonwealth Institute, characterised by a distinctive parabolic copper roof…

Scratch-and-Sniff: Celebrating the 2011 Vice Photo Issue

This July, VICE has surpassed itself. As the self-proclaimed coolest magazine in the world, Volume 18 Number 7 is a visually stunning compendium of photography…

1986 Chernobyl: Jane and Louise Wilson, John Hansard Gallery, Southampton.

Jane and Louise Wilson were born in Newcastle and currently live and work in London. Using film, photography and sculpture, the Wilsons have created a…

Urban Pagan – Kid Acne: Kill Your Darlings, Millennium Gallery, Sheffield.

Kill Your Darlings is Kid Acne’s (b.1978) first solo exhibition in Sheffield, where he has lived and works for the last 15 years. Kid Acne…

Call for Entries: Aesthetica Creative Works Competition

The Aesthetica Creative Works Competition is open for entries! With categories for artwork, poetry and short fiction, the Creative Works Competition provides a great opportunity…

Heather Ross: Constants in Practice, Royal Scottish Academy, Edinburgh.

Review by Colin Herd In July 2010, the painter Heather Ross (b.1983) won the Alastair Salvesen Travel Scholarship, a funding opportunity aimed at young artists…

Challenging Perception: René Magritte: The Pleasure Principle, Tate Liverpool.

Review by Kenn Taylor The imagery of Belgian surrealist René Magritte has long become a part of popular culture. More importantly than that though, he…

Once Upon a Time: Fantastic Narratives in Contemporary Video, Guggenheim Museum Berlin.

Review by Katerina Valdivia Bruch The Guggenheim Museum Berlin presents in Once Upon a Time: Fantastic Narratives in Contemporary Video, six artists from its collection…

Thomas Struth: Photographs 1978-2010, Whitechapel Gallery, London.

Review by Paul Hardman There is a moment in the film that accompanies the Thomas Struth: Photographs 1978-2010 exhibition, when the artist seems momentarily irritated…

Inverting Preconceptions of Materials, Ideas and Craft: Jerwood Makers Open, JVA, London.

Review by Kara Magid, a candidate for the MA in Art History at Richmond, The American International University in London. Jerwood Makers Open is a…

My Hands are Tied: You Seem The Same Always, The Common Guild, Glasgow

Review by Alistair Q Vince Lombardi, the 1960s American Football coach once said “The price of success is hard work, dedication to the job at…

Sibylle Bergemann: The Poetry of Polaroids: C/O Berlin.

Review by Katerina Valdivia Bruch Quoting Susan Sontag in her book On Photography (1977), “All photographs are memento mori. To take a photograph is to…

United by Difference: Michelangelo Pistoletto’s The Mirror of Judgement: Serpentine Gallery, London.

Review by Mallory Nanny, a candidate for the MA in Art History at Richmond the American International University in London. The Serpentine Gallery currently boasts…

The Simplicity of Existence: Daisy Boman: Encounter: Halcyon Gallery, New Bond Street.

Review by Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London. Daisy Boman’s second exhibition entitled…

The Brontës Went to Woolworths – Neil Shawcross: Penguins, The Naughton Gallery, Queen’s University, Belfast.

Review by Angela Darby The affordable Penguin paperback book, now in its 76th year of production, was originally created to bring literature to the masses…

Sickly Sweet: Caroline McCarthy, Arrangements: Green on Red Gallery, Dublin.

Review by James Merrigan We could lazily describe Caroline McCarthy’s readymade arrangements as sweet, and stop there, but there is an added dose of the…

Seeing Is Believing: Junya Ishigami: Architecture as Air, Curve Gallery, Barbican Art Gallery, London.

Review by Nathan Breeze The pioneering American engineer Buckminster Fuller once famously asked the question ‘how much does your building weigh?’ This perhaps marked the…

Eyewitness: Hungarian Photography in the 20th Century, Royal Academy of Arts, London.

Review by Karla Evans Mounting an exhibition that addresses 75 years worth of work and features over 50 photographers is no meagre task. Compliments then…

BT Northern Ireland Press Photographer of the Year Exhibition 2011, Golden Thread Gallery, Belfast

Every year The Northern Ireland Press Photographers Association (NIPPA) launches its search for the best photo journalists across Northern Ireland. Through the BT Northern Ireland…

The Secret Garden: Serpentine Gallery Pavilion 2011, Designed by Peter Zumthor, Hyde Park, London.

Review by Emily Sack, a candidate for the MA in Art History at Richmond the American International University in London. Each year the Serpentine Gallery…

Emotions for the Advanced: Matters of Life and Death, Kath Libbert Jewellery Gallery, Salts Mill, Bradford.

Kath Libbert Jewellery Gallery specializes in contemporary jewellery, silver and metalsmithing, showcasing diverse collections by over 70 renowned designers and emerging talents from Britain and…

Postmodernist Appropriation, Ron English: Skin Deep, Lazarides Gallery, London.

Review by Mallory Nanny, a candidate for the MA in Art History at Richmond the American International University in London In his first UK exhibition…

Re-thinking Notions of Authority and Authenticity: November 22, 1948, Marcel van Eeden, Sprüth Magers, London.

Review by Emily Sack, a candidate for the MA in Art History at Richmond the American International University in London. Paper and pencil are typically…

Experiments in Time and Space: Q&A with Jane Won, curator of Catherine Yass, DLWP, Bexhill on Sea.

Catherine Yass Exhibition from De La Warr Pavilion on Vimeo. Interview by Bethany Rex Catherine Yass is a leading contemporary photographer and film-maker whose work…

Twenty: Celebrating 20 Years of the Irish Museum of Modern Art, Dublin.

Review by Rosa Abbott The Irish Museum of Modern Art is celebrating its 20th anniversary with Twenty – an exhibition drawing upon its existing collections…

A Major New Public Artwork: Martin Creed, Work No.1059, Edinburgh Art Festival.

2011 sees the unveiling of a major new public artwork by Turner Prize winning artist Martin Creed for the historic Scotsman Steps. Commissioned by The…

Salt of the Earth: Ken & Julia Yonetani, Still Life: The Food Bowl – Artereal Gallery, Sydney.

Review by Isabella Andronos A decadent feast appears in the space at Artereal Gallery; a table set with goblets and candlesticks among abundant seafood, fruit…

Edinburgh International Film Festival: Round-Up

Words by Carla MacKinnon Early Sunday afternoon in Edinburgh’s Filmhouse, and a packed room is being addressed by the University’s Professor of Cognitive Neuroscience. Following…

Review: The Diversity of Berlin’s International Art Scene, Based in Berlin, Various Venues.

Review by Katerina Valdivia Bruch Initiated by the mayor of Berlin, Klaus Wowereit, the exhibition Based in Berlin caused some controversy before its opening on…

Love Is What You Want: Tracey Emin, Hayward Gallery, London.

Review by Jareh Das Tracey Emin’s extensive solo presentation at London’s Hayward Gallery is an exhibition which may conjure some scepticism. Emin is an artist…

Last Chance to See: Hubert Dalwood, Mead Gallery, Warwick Arts Centre.

Review by David Levesley ‘What we can and must reinstate is the primacy of the imagination’ said Dalwood, a sculptor who’s impressive credentials do not…

Review: Surrealism: The Poetry of Dreams, Gallery of Modern Art, Brisbane.

Review by Amelia Groom In 1942 André Breton staged an exhibition in New York at the Whitelaw Reid Mansion called First Papers of Surrealism, the…

Q&A with Marcus Jansen: Artwork Winner, Creative Works Competition 2010

The Aesthetica Creative Works Competition is open for entries! Now in its fourth year, the competition is dedicated to celebrating and championing creative talent across…

Last Chance to See: Marcel Odenbach’s Probeliegen, Freud Museum, London.

Review by Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London. The current exhibition at Freud…

Pioneers of Sound Art: Gone with the Wind, Raven Row, London.

Review by Alex Gibson The building was beautiful and it was light. The rooms are impeccably restored so that visiting the Raven Row gallery would…

Review:Dissipated and Isolated Neighbourhoods: Sterile Environment, Catalyst Arts, Belfast.

Review by Angela Darby Belfast‘s reputation is one of a fractured city in which city planning was curtailed or defined by social unrest. However, over…

The Vorticists: Manifesto for a Modern World, Tate Britain, London.

Review by Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London. Vorticism was a British Avant…

Two Weeks, Ten Artists, One Objective: Artist of the Day 2011, Flowers Gallery, Cork Street, London.

Pioneered by Angela Flowers in 1983 Artist of the Day is an annual event whereby ten selectors choose an artist to each hold a one…

Fundamental Stages of Being: Presence, Absence, Kingsland Road Studio, London.

Review by Alex Tieghi-Walker Tucked underneath an ordinary yellow-bricked housing development, like so many now trailing the canal in East London, is a rather extraordinary…

Pablo Bronstein: Sketches for Regency Living, ICA, London.

Review by Paul Hardman Bronstein is the first artist to have had the opportunity to use all of the ICA‘s available spaces for a solo…

Multi-Sensory Dialogues: Q&A with Russell Hill, Catlin Art Prize Winner 2011.

Established in 2007, the Catlin Art Prize recognises and supports the development of recent art graduates in the UK. Following their final degree shows, artists…

Transformations in the Domestic Realm: Haegue Yang, Teacher of Dance, Modern Art Oxford.

Review by Lucy Hobbs Five tomato cans, elevated on a cylindrical platform boasting tightly-knitted mauve exteriors introduce visitors to Haegue Yang’s foremost solo UK exhibition…

Marjolijn Dijkman: Theatrum Orbis Terrarum, Spike Island, Bristol.

Review by Regina Papachlimitzou In Theatrum Orbis Terrarum, Dutch artist Marjolijn Dijkman offers a fresh and intriguing perspective on the well-trodden but nonetheless relevant and…

Liverpool’s First International Photography Festival: Look11, Various Venues, Liverpool.

Review by Kenn Taylor A new entry on Liverpool’s cultural calendar, Look11, is a vast photography festival encompassing exhibitions, events and projects taking place over…

Photographic Examinations of Femininity: Neeta Madahar & Madame Yevonde, PM Gallery & House, London.

Review by Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London. The Role Play exhibit is…

The Sly and Unseen Day: George Shaw, South London Gallery

Review by Paul Hardman The most important thing to say about this George Shaw exhibition, The Sly and Unseen Day is that the paintings are…