Art Monthly
@artmonthly.bsky.social
Contemporary art magazine based in London; follow for the latest artist interviews, news, reviews and more.
Art Monthly – taking art apart since 1976
https://www.artmonthly.co.uk
Art Monthly – taking art apart since 1976
https://www.artmonthly.co.uk
Save up to £53 with Art Monthly gift bundles!
Give the ultimate Art Monthly gift – or just keep it for yourself…
Optional extras include the Talking Art artist interview books, plus the exclusive Liam Gillick cap and Oreet Ashery T-shirt - while stocks last.
www.artmonthly.co.uk/buy
Give the ultimate Art Monthly gift – or just keep it for yourself…
Optional extras include the Talking Art artist interview books, plus the exclusive Liam Gillick cap and Oreet Ashery T-shirt - while stocks last.
www.artmonthly.co.uk/buy
November 20, 2025 at 4:55 PM
Save up to £53 with Art Monthly gift bundles!
Give the ultimate Art Monthly gift – or just keep it for yourself…
Optional extras include the Talking Art artist interview books, plus the exclusive Liam Gillick cap and Oreet Ashery T-shirt - while stocks last.
www.artmonthly.co.uk/buy
Give the ultimate Art Monthly gift – or just keep it for yourself…
Optional extras include the Talking Art artist interview books, plus the exclusive Liam Gillick cap and Oreet Ashery T-shirt - while stocks last.
www.artmonthly.co.uk/buy
“The question is, how can the therapeutic gaze be harnessed to upset the top-down, objectifying dynamic we might associate with medical practice, including the wider neoliberalist framework of arts in health advocacy?”
November 20, 2025 at 3:59 PM
“The question is, how can the therapeutic gaze be harnessed to upset the top-down, objectifying dynamic we might associate with medical practice, including the wider neoliberalist framework of arts in health advocacy?”
“Nnena Kalu’s nomination for this year’s Turner Prize raises important questions about ethics, interpretation and responsibility, and invites broader reflection on how representation is negotiated.”
November 19, 2025 at 4:20 PM
“Nnena Kalu’s nomination for this year’s Turner Prize raises important questions about ethics, interpretation and responsibility, and invites broader reflection on how representation is negotiated.”
Special offer ends midnight Monday 10 Nov
All individual print subscriptions taken out 28 Oct – 10 Nov 2025 will automatically be upgraded to combined print+digital subscriptions at no extra cost.
All individual print subscriptions taken out 28 Oct – 10 Nov 2025 will automatically be upgraded to combined print+digital subscriptions at no extra cost.
November 10, 2025 at 2:54 PM
Special offer ends midnight Monday 10 Nov
All individual print subscriptions taken out 28 Oct – 10 Nov 2025 will automatically be upgraded to combined print+digital subscriptions at no extra cost.
All individual print subscriptions taken out 28 Oct – 10 Nov 2025 will automatically be upgraded to combined print+digital subscriptions at no extra cost.
“Let’s take a wider perspective and assert that all art by default creates a crack in consensus reality, that on one level or another all art is visionary, all art is political, all art is mystical, all art is about identity, all art is holographic and so on.”
November 6, 2025 at 4:51 PM
“Let’s take a wider perspective and assert that all art by default creates a crack in consensus reality, that on one level or another all art is visionary, all art is political, all art is mystical, all art is about identity, all art is holographic and so on.”
November art jobs, grants and other artists’ opportunities, plus art listings, podcasts and more in the latest newsletter:
www.artmonthly.co.uk/newsletters →
[image: Heather Ageypong, ‘Can you hear that?...No..Right!’, 2025, in conversation, 7pm 12 Nov, New Art Exchange, Nottingham]
#artjobs
www.artmonthly.co.uk/newsletters →
[image: Heather Ageypong, ‘Can you hear that?...No..Right!’, 2025, in conversation, 7pm 12 Nov, New Art Exchange, Nottingham]
#artjobs
November 4, 2025 at 5:08 PM
November art jobs, grants and other artists’ opportunities, plus art listings, podcasts and more in the latest newsletter:
www.artmonthly.co.uk/newsletters →
[image: Heather Ageypong, ‘Can you hear that?...No..Right!’, 2025, in conversation, 7pm 12 Nov, New Art Exchange, Nottingham]
#artjobs
www.artmonthly.co.uk/newsletters →
[image: Heather Ageypong, ‘Can you hear that?...No..Right!’, 2025, in conversation, 7pm 12 Nov, New Art Exchange, Nottingham]
#artjobs
Art Monthly, Issue 491, Nov 2025
• Suzanne Treister – interviewed by Jamie Sutcliffe
• Curating Difference – Lisa Slominski
• Art Treatment – Tom Denman
• Re-de-photography – Mark Prince
• Grant Mooney – Profile by Francis Whorrall-Campbell
[cover: Suzanne Treister, ‘SURVIVOR (F)’, 2016-19]
• Suzanne Treister – interviewed by Jamie Sutcliffe
• Curating Difference – Lisa Slominski
• Art Treatment – Tom Denman
• Re-de-photography – Mark Prince
• Grant Mooney – Profile by Francis Whorrall-Campbell
[cover: Suzanne Treister, ‘SURVIVOR (F)’, 2016-19]
November 3, 2025 at 5:55 PM
Art Monthly, Issue 491, Nov 2025
• Suzanne Treister – interviewed by Jamie Sutcliffe
• Curating Difference – Lisa Slominski
• Art Treatment – Tom Denman
• Re-de-photography – Mark Prince
• Grant Mooney – Profile by Francis Whorrall-Campbell
[cover: Suzanne Treister, ‘SURVIVOR (F)’, 2016-19]
• Suzanne Treister – interviewed by Jamie Sutcliffe
• Curating Difference – Lisa Slominski
• Art Treatment – Tom Denman
• Re-de-photography – Mark Prince
• Grant Mooney – Profile by Francis Whorrall-Campbell
[cover: Suzanne Treister, ‘SURVIVOR (F)’, 2016-19]
“‘Machine Boys’ captures a group of young men who operate illegal motorcycle taxis in Lagos. Many of the riders stare directly out at the viewer before veering off abruptly or creating endless burn-out circles that churn up clouds of dust, as though responding to a shared internal choreography.”
October 15, 2025 at 4:13 PM
“‘Machine Boys’ captures a group of young men who operate illegal motorcycle taxis in Lagos. Many of the riders stare directly out at the viewer before veering off abruptly or creating endless burn-out circles that churn up clouds of dust, as though responding to a shared internal choreography.”
“Gary Indiana’s praise for ZG and Wedge magazines would be an epitaph. That extinction might be because these publications had done their work in highlighting art’s connections in the transformed historical field of neoliberalism or, maybe, as usual, money, death and power won out.”
October 13, 2025 at 2:48 PM
“Gary Indiana’s praise for ZG and Wedge magazines would be an epitaph. That extinction might be because these publications had done their work in highlighting art’s connections in the transformed historical field of neoliberalism or, maybe, as usual, money, death and power won out.”
“Aleksandra Pryegalinska has recorded children employing the same speech forms used for interacting with smart speakers when talking to their friends – abbreviated, demanding and with few niceties. Conversely, another study recorded children talking to digital agents as if they were human.”
October 9, 2025 at 4:09 PM
“Aleksandra Pryegalinska has recorded children employing the same speech forms used for interacting with smart speakers when talking to their friends – abbreviated, demanding and with few niceties. Conversely, another study recorded children talking to digital agents as if they were human.”
“Perhaps a deeper understanding of obsolescence can change the experience of art itself, creating glimpses of what appears to be a parallel world in which it is possible for obsolescence to contain possibility.”
October 8, 2025 at 3:36 PM
“Perhaps a deeper understanding of obsolescence can change the experience of art itself, creating glimpses of what appears to be a parallel world in which it is possible for obsolescence to contain possibility.”
“The flaw of binary models, which are used in geographical and community-based distinctions to cast the West as negative other, is that they come bundled with a Manichaean moral imperative: the body defining itself against the West must be made to stand for almost everything that the West is not.”
October 7, 2025 at 4:08 PM
“The flaw of binary models, which are used in geographical and community-based distinctions to cast the West as negative other, is that they come bundled with a Manichaean moral imperative: the body defining itself against the West must be made to stand for almost everything that the West is not.”
“Why had I never heard about Jackson State where, in that same month of 1970, there had been a shooting of African-American students? The two black students who died at Jackson State are not well remembered compared with the fatal event around the deployment of the National Guard at Kent State.”
October 6, 2025 at 4:29 PM
“Why had I never heard about Jackson State where, in that same month of 1970, there had been a shooting of African-American students? The two black students who died at Jackson State are not well remembered compared with the fatal event around the deployment of the National Guard at Kent State.”
October art jobs, residencies, grants, exhibitions and other artists’ opportunities, plus art listings, podcasts and more in the latest newsletter:
www.artmonthly.co.uk/newsletters →
[image: Suzanne Treister, ‘Are You Dreaming?’, 1991–92, from the series ‘Fictional Videogame Stills’]
#artjobs
www.artmonthly.co.uk/newsletters →
[image: Suzanne Treister, ‘Are You Dreaming?’, 1991–92, from the series ‘Fictional Videogame Stills’]
#artjobs
October 3, 2025 at 5:23 PM
October art jobs, residencies, grants, exhibitions and other artists’ opportunities, plus art listings, podcasts and more in the latest newsletter:
www.artmonthly.co.uk/newsletters →
[image: Suzanne Treister, ‘Are You Dreaming?’, 1991–92, from the series ‘Fictional Videogame Stills’]
#artjobs
www.artmonthly.co.uk/newsletters →
[image: Suzanne Treister, ‘Are You Dreaming?’, 1991–92, from the series ‘Fictional Videogame Stills’]
#artjobs
Art Monthly, Issue 490, Oct 25
• Naeem Mohaiemen interviewed by Amna Malik
• Uneasy About ESEA – Morgan Quaintance
• On Obsolescence – Bob Dickinson
• On Magazines – Chris Townsend
• Karimah Ashadu – Profile by Kathryn Lloyd
+ news, views, reviews…
cover: Karimah Ashadu, ‘Machine Boys’, 2024
• Naeem Mohaiemen interviewed by Amna Malik
• Uneasy About ESEA – Morgan Quaintance
• On Obsolescence – Bob Dickinson
• On Magazines – Chris Townsend
• Karimah Ashadu – Profile by Kathryn Lloyd
+ news, views, reviews…
cover: Karimah Ashadu, ‘Machine Boys’, 2024
October 2, 2025 at 3:04 PM
Art Monthly, Issue 490, Oct 25
• Naeem Mohaiemen interviewed by Amna Malik
• Uneasy About ESEA – Morgan Quaintance
• On Obsolescence – Bob Dickinson
• On Magazines – Chris Townsend
• Karimah Ashadu – Profile by Kathryn Lloyd
+ news, views, reviews…
cover: Karimah Ashadu, ‘Machine Boys’, 2024
• Naeem Mohaiemen interviewed by Amna Malik
• Uneasy About ESEA – Morgan Quaintance
• On Obsolescence – Bob Dickinson
• On Magazines – Chris Townsend
• Karimah Ashadu – Profile by Kathryn Lloyd
+ news, views, reviews…
cover: Karimah Ashadu, ‘Machine Boys’, 2024
“Kaari Upson developed ‘The Larry Project’ after she snuck into the abandoned mansion of her parents’ neighbour, a wannabe Hugh Hefner, and discovered a trove of dream journals and photographs detailing his aspirations to a playboy mogul lifestyle.”
September 24, 2025 at 5:23 PM
“Kaari Upson developed ‘The Larry Project’ after she snuck into the abandoned mansion of her parents’ neighbour, a wannabe Hugh Hefner, and discovered a trove of dream journals and photographs detailing his aspirations to a playboy mogul lifestyle.”
“In their paean to hedonism, Milly Thompson’s works nonetheless offer a feminist edge: that of the viewpoint so often either neglected or mocked of a middle-aged woman.”
September 23, 2025 at 2:25 PM
“In their paean to hedonism, Milly Thompson’s works nonetheless offer a feminist edge: that of the viewpoint so often either neglected or mocked of a middle-aged woman.”
“Sir John Soane’s out-of-town house is a particularly distinctive location, and Sahib is well-placed to make an unusually localised response to it. Born in 1982, he grew up nearby, and has fed the area into his autobiographically infused work over the past decade.”
September 16, 2025 at 5:13 PM
“Sir John Soane’s out-of-town house is a particularly distinctive location, and Sahib is well-placed to make an unusually localised response to it. Born in 1982, he grew up nearby, and has fed the area into his autobiographically infused work over the past decade.”
“What is this tableau of wreckage? Recent media images of Gaza's destruction come to mind. So, too, does the devastation wrought some two decades ago by Hurricane Katrina, especially to black working-class communities in New Orleans. But Drew speaks in formal terms.”
September 15, 2025 at 4:16 PM
“What is this tableau of wreckage? Recent media images of Gaza's destruction come to mind. So, too, does the devastation wrought some two decades ago by Hurricane Katrina, especially to black working-class communities in New Orleans. But Drew speaks in formal terms.”
“In Eva Hesse’s work there are certainly body-like forms apparent: aspherical forms ensnared within netted bags in one work and the odd couple of a quasi-phallus conjoined with a quasi-testis in another work certainly allude in that direction. Yet this is a case where caution should be exercised.”
September 11, 2025 at 4:53 PM
“In Eva Hesse’s work there are certainly body-like forms apparent: aspherical forms ensnared within netted bags in one work and the odd couple of a quasi-phallus conjoined with a quasi-testis in another work certainly allude in that direction. Yet this is a case where caution should be exercised.”
“As happens with retrospectives when the artist is deceased, there is now a rush to reframe Rebecca Horn’s work in terms of contemporary themes, such as nonhuman kinships. While Horn did stage interactions between herself and a cockatoo, this studio performance is arguably centred on mimicry.”
September 10, 2025 at 4:34 PM
“As happens with retrospectives when the artist is deceased, there is now a rush to reframe Rebecca Horn’s work in terms of contemporary themes, such as nonhuman kinships. While Horn did stage interactions between herself and a cockatoo, this studio performance is arguably centred on mimicry.”
“The brilliance of Maryam Tafakory’s approach lies in reversing the usual way prohibitions are signposted: she turns the gaze towards the film industry’s efforts to keep desire within the frame, and the shifts in image-reading this prompted across Iranian spectatorship.”
September 9, 2025 at 4:52 PM
“The brilliance of Maryam Tafakory’s approach lies in reversing the usual way prohibitions are signposted: she turns the gaze towards the film industry’s efforts to keep desire within the frame, and the shifts in image-reading this prompted across Iranian spectatorship.”
“Consider the dance marathons of the US’s 1930s depression era, dramatised in Sydney Pollack’s 1969 film ‘They Shoot Horses, Don’t They?’ If there’s a finer allegory of industrial capitalism’s ruthless demands upon the human, I’m struggling to find it.”
September 8, 2025 at 4:33 PM
“Consider the dance marathons of the US’s 1930s depression era, dramatised in Sydney Pollack’s 1969 film ‘They Shoot Horses, Don’t They?’ If there’s a finer allegory of industrial capitalism’s ruthless demands upon the human, I’m struggling to find it.”
“Downplaying the political narrative has the mysterious effect of pushing the working class as an empirical category into the history of capitalism while denying it a place in contemporary capitalism.”
September 4, 2025 at 4:12 PM
“Downplaying the political narrative has the mysterious effect of pushing the working class as an empirical category into the history of capitalism while denying it a place in contemporary capitalism.”
“One of the things about filming people is that if somebody is doing something that they are consumed by then they will become glorious, otherwise they’re feeling under threat from the camera or what’s being demanded.”
September 3, 2025 at 2:55 PM
“One of the things about filming people is that if somebody is doing something that they are consumed by then they will become glorious, otherwise they’re feeling under threat from the camera or what’s being demanded.”