Francis Frascina
Dave Beech
Virginia Whiles
Lauren Velvick
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Francis Frascina on the denial of identity
If proliferating techniques of redaction have produced a new spectacle of obliteration, how have artists such as John Akomfrah, Jenny Holzer and Richard Wentworth resisted the censor?
With 'War Paintings', Jenny Holzer contrasts the reproduction of enlarged redacted documents – the text's absence, the redactor's presence – with painterly evidence of her presence in their representation, her absence in the redaction process.
From the Back Catalogue
Models of Thinking Alfredo Jaar interviewed by Kathy Battista
Looking is not enough argues Dave Beech
After the Avant Garde, anti-art, the readymade and Conceptual Art, shouldn't we spend less time looking at art by the likes of Marcel Duchamp, Martha Rosler and Artur Zmijewski, and more time writing and thinking about it?
I already understood that looking at art must always be theoretically framed from my time at art school, but I had not understood how writing could intensify, accelerate and recast this entwinement of theory and looking.
Last summer, halfway through his four-year term as chair of ACE, the Tory-appointed Sir Peter Bazalgette had already decided that he would not continue in 2017, but he waited to make his announcement until after the chancellor's supportive spending review – coincidence?
Given the prime minister's background in PR and Peter Bazalgette's in TV, it makes some sort of sense that securing arts funding was apparently about getting the rhetoric right: never mind the argument, it's all about presentation.
Paul Carey-Kent continues to question Dave Beech's review methodology.
Palestinian artist Ashraf Fayadh has been sentenced to death in Saudi Arabia for allegedly promoting atheism in his work; the Museums Association warns of closures and artwork sell-offs following a further cut to local government budgets; US private museums are in the spotlight over their tax perks; the flagship Catalyst scheme to kickstart Jeremy Hunt's 'endowments century' is being wound down after only three years; artist Ellie Harrison finds herself in a media storm over grants for the arts; the latest news on galleries, appointments, prizes and more.
Tate Britain, London
Virginia Whiles
Serpentine Sackler Gallery, London
Colin Perry
Tate Liverpool
FACT, Liverpool
Laura Robertson
Le Bal, Paris
Olga Smith
Baltic, Gateshead
Jamie Sutcliffe
Fruitmarket Gallery, Edinburgh
Mark Harris
Museum Brandhorst, Munich
Saim Demircan
Tintype, London
Sophia Phoca
The International 3, Salford
Eleanor Clayton
Raven Row, London
Alex Fletcher
Carroll / Fletcher, London
Louisa Elderton
John Hansard Gallery, Southampton
Paul Carey-Kent
Maria Walsh on a work of eco art with genuine resonance
Using all the cinematic tricks of visceral and haptic imagery, as well as invasive instruction, Deep Above makes us feel the inchoate nature of the toxic atmosphere through our eyes, skin and throats.
Lauren Velvick listens in on some recent radio-based art projects
Radio Anti's project speaks of mapping through broadcast, with the temporary site's boundaries generated by the limitations of their FM signal, which only reached one mile from Bloc Projects and was impeded by geographical and architectural features.
Chris Fite-Wassilak questions artists' roles in redevelopment
In both Jessie Brennan and Nathan Coley's projects, the artists attempt to archive pasts that have all but disappeared, and both would most likely agree that 'even the mildest of social democracy is now considered utopian'.
Rob La Frenais enjoys a wild ride of a book
Catherine Elwes starts this book with a paradox, the conflict between immersion and engagement, and goes on to explore this with some complexity.
Morgan Quaintance on the Japanese quest for peace
During my time in the country's capital, Tokyo was a city abuzz with the energy of dissent. Hundreds of miles away, travelling to my destination across the Seto Inland Sea, things couldn't have been more different.
Niki Russell finds a bouyant home-grown art scene
While there might be some suspicion that new arrivals are simply making the move because it is cheaper here, there is also widespread optimism and enthusiasm.
Henry Lydiate on legal protections against appropriation
The Dan Flavin estate is troubled that Allora & Calzadilla felt comfortable laying claim to this installation as part of their own art and not as simply a curatorial effort.
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