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…

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…

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…

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…