Phoebe Colley

Culture Writer & Editorial Intern

A Coup from Joan Fontcuberta and A Conversation with Greg Hobson.

“Stranger Than Fiction” presents the work of Joan Fontcuberta in his first solo exhibition to reach the UK, spanning some of his most famous pieces from 1987 to 2002. The photographer, notorious for his mischievous methods of ‘documentation’, sets up encounters that are designed to incite a resistance within the viewer – compelling him or her to oppose the ingrained authority of the image (and The Science Museum) in favour of a more dialectical approach. I had the opportunity to ask co-curator G

Fragments of Art in Time.

As the latest in a prestigious line of canonical releases by publisher Phaidon, Art In Time: A World History of Styles and Movements reflects a longstanding urge within art-historical spheres to remove past modulations of art practise from their typically discrete lodgings; re situating movements instead into the cultural and political climates that both enabled and constrained their production. Tracing the impact of 150 styles across every continent, with over 20 specialist contributors, Art In

Holy Shit: The Work of Izaak Flanders.

To say that Izaak Flanders loves men is not only accurate, and a bit funny, but it is also an understatement. Starting with himself and expanding back to the hunting, fighting, fucking neanderthals poised at the brink of evolution, men are Izaak’s favourite thing. As such, a product of this love can be traced as a running thread between his performance art works: testing the limits of all things male. From earlier series’ such as Tree/Ink/Clay (2012), to exploring rituals or fraternity and group

Echoue au seuil de la raison

Featured in the Catlin Art Prize 2014, Virgile Ittah’s Echoue au seuil de la raison demonstrates the often displaced connectivity between body and landscape. The work’s two wax figures, overlaid with marble dust, lay half slumped across cast iron bed frames; the four feet lose their definitive titles, merging instead with the molten legs they protrude from and the 50 square metres of installation space that Ittah covered with the same wax/marble finish. While it can be tempting to think oneself

Abigail Jones: Ten Years of Fucking Mayhem

“I’ve never had faith in my ability to draw really clean things. It’s always been, ‘Well that looks shit so I’ll just layer stuff on the top or write something funny about ISIS’” Disarming from the get go, Ten Years of Fucking Mayhem does not in fact span ten years. Taken from the ongoing series A Taste for Perfection, the catalogue presents 101 mixed media creations that span about half that time, with subjects ranging from obituaries and art-world angst to “Vladimir Putin, aged thirteen, fee
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