Humanity’s Unspoken Rhetoric: rAndom International, Wellcome Collection, London.

Review by Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London. Decorating Euston Road in the…

Filmmaker Series – Part 4 Q&A with Daniel Wirtberg

Filmmaker Series – Part 4 Q&A with Daniel Wirtberg For the fourth instalment in our Q&A series with last year’s Aesthetica Short Film Competition winners…

A Pictorial Stream of Consciousness: Philip-Lorca diCorcia, Sprüth Magers, London.

Review by Jessica Jones-Berney As I follow the row of Philip-Lorca diCorcia Polaroids lined up against the otherwise sparse white walls of Sprüth Magers, it…

Spatial Form in Social and Aesthetic Processes: Concrete Geometries, AA, London.

Review by Nathan Breeze Concrete Geometries is an ongoing research initiative at the Architectural Association directed by Marianne Mueller and Olaf Kneer. Derived from ‘Concrete…

The Crucible: York Theatre Royal, Finishes Saturday 28 May – Don’t Miss It

Review by Grace Henderson Exposed, enclosed, surrounded – in Arthur Miller’s classic but timelessly terrifying drama The Crucible, no protagonist escapes these feelings. Set in…

The Most Beautiful World in the World: Friedrich Kunath, White Cube, London.

Review by Matt Swain White Cube Hoxton Square presents the first solo UK exhibition by Friedrich Kunath. Born in Germany and based in Los Angeles…

Two Events @ V&A – Friday Late: Yohji Yamamoto at Play and Fashion in Motion: Yohji Yamamoto

To celebrate the V&A’s current Yohji Yamamoto retrospective, the V&A will stage two events exploring the influential Japanese designer’s work and offer the chance for…

Journeys & Location: Frank Bowling RA, ROLLO Contemporary Art, London.

Review by Emily Sack, a candidate for the MA in Art History at Richmond the American International University in London. Six years after being elected…

New Connections Within The Polyphonic Whole: Janet Cardiff, Fabrica Gallery, Brighton

Review by Amy Knight Sound has, perhaps more than any other sensory stimulation, a transcendental power that can immerse the listener in an all-encompassing awareness…

The Globe Shrinks for Those Who Own It: Barbara Kruger, Sprüth Magers, London.

Review by Laura Bushell There’s a game children play when they want to enrage their siblings; that of repeating verbatim everything the other says. Maintained…

Two Portrayals of Life: Miroslav Tichý and Shimabuku’s My Teacher Tortoise, Wilkinson Gallery, London.

Review by Mallory Nanny, a candidate for the MA in Art History at Richmond the American International University in London. Located in the lively art…

Sam Knowles, Fearful Sphere, at Simon Oldfield Gallery, London

Sam Knowles’ first solo exhibition, Fearful Sphere opens tonight in London. Knowles’ (b.1983) practice deals with metaphysical concerns, and the notion that the world…

Ian Hamilton Finlay | Definitions at Victoria Miro, London

By Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London. Ian Hamilton Finlay’s show currently at…

Vija Celmins, Television and Disaster (1964 – 1966), LACMA, LA.

Review by Jareh Das Los Angeles County Museum of Art presents an intimate exhibition of Vija Celmins works, focusing on the artist’s time in Los…

Articulating Sounds As Visual Imagery: Sam Belinfante, Penumbra, mima, Middlesborough

Review by Jareh Das As you approach mima (Middlesbrough Institute of Modern Art) in Centre Square the viewer is confronted by a resounding female operatic…

The Wider Narratives of the Middle East: Rabih Mroué, The People Are Demanding, Iniva, London.

Review by Jareh Das Lebanese artist, theatre director, playwright and actor, Rabih Mroué presents his first UK solo show at iniva which centres around ongoing…

Predominantly Political Art? Peter Kennard, At Earth, Raven Row, London

Review by Kara Magid, a candidate for the MA in Art History at Richmond, The American International University in London. Painters George Shaw and Karla…

Contemporary Lighting Design: WOKA, Vienna

WOKA was born in 1900, they produce handmade reproductions of exclusive lighting-fixtures from the early 20th century. Handmade in Vienna, with original tools using the…

Manipulations of Form, Weight and Volume: Michael Sailstorfer, Modern Art Oxford

Review by Matt Swain Modern Art Oxford hosts Michael Sailstorfer’s first solo presentation in the UK, comprising mixed-media sculptural interventions exploring notions of flight, movement…

Francis Alÿs: A Story of Deception, MoMA, New York.

Francis Alÿs: A Story of Deception at The Museum of Modern Art and MoMA PS1 opens on 8 May, drawing upon MoMA’s unique and important…