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Spoken word artist Malcolm London

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Art gives us the ability to acknowledge each other’s humanity. In the words of MLK (Martin Luther King Jr), Justice is what love looks like in public. I believe that but there is clearly a discrepancy as to who gets justice & who doesn’t. We need more love and art, to me this allows us to access parts of ourselves and reimagine a better tomorrow. I don’t think there can be justice without art. There cannot be art without an interrogation of justice.

Spoken word artist Malcolm London from Chicago in conversation with Christabel Johanson

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Waswad on the Future of Man

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Spontaneity is a word that rings in Waswad’s head as he sets out to work on a piece of artwork. He says he doesn’t sketch or plan for the work and therefore works with his initial idea which he continues developing as the work progresses. He says he prefers to work with the raw idea, unhampered by rigorous planning and sketching which ends up destroying its originality.

Matt Kayem about the work of the Ugandan artist Waswad
Waswad’s Amasendela, albizia and ebony wood, 87 x 30 x 40cm. Photo by the artist.

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Anthea Hamilton

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The Squash is playful, humorous, inquiring, and subtly irreverent. Anthea Hamilton’s latest project is a witty response to what Tate Britain represents: the maxim referent of establishment art.

Raquel Villar-Pérez on the Tate project of Anthea Hamilton.
The Squash, by Anthea Hamilton. Image sourced from The Telegraph Newspaper

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Composing with the eye: The work of Peter Clarke and Lionel Davis

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Composition of the Eye is at a certain level a retrospective exhibition, it is also about the two artist careers that has spanned over fifty years combined. It is also about the merging of their discourses, this way both their aesthetic influences and impact can be deemed for their respective achievements. (…) Both their repertoire is or was informed by the techniques that informed Black artists during the apartheid era.

Themba Tsotsi on the work of the South African artists Peter Clarke and Lionel Davis
Lionel Davis, Mask, 2009.

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Canon Griffin: Clowning The Art Or Not?

You might ask yourself, what would be fascinating about the doll-like representations of humans? Is the artist playing with our minds? Is this just buffoonery? Why bring puppetry to the gallery? Well, why not? But there you have it. They are copies of us, made by us, meaning, they can easily stand in for us, which the artist does.

Matt Kayem on Posers of Canon Griffin.

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