Art Monthly

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TAKING ART APART SINCE 1976

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Art Monthly magazine December–January issue with a cover featuring a grainy black-and-white film still of a girl holding a flaming torch against a grey backdrop.

Art Monthly, Issue 492, Dec–Jan 2025–26

• Ben Rivers – interviewed by María Palacios Cruz

• Creating a Stink – Francis Frascina

• Who Cares? – Chris Clarke

• Saodat Ismailova – Profile by Maria Walsh

+ news, views, reviews and more…

[cover: Ben Rivers, ‘Mare’s Nest’, 2025]

From the Back Catalogue: ‘Photography as Work’ – Stephanie Schwartz questions the utopian potential of digital photography

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[image: Allan Sekula and Noël Burch, ‘The Forgotten Space’, 2010]

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A photograph showing curved rows of desks in a busy trading floor.

“The issue of access to technology aside, has the emergence and subsequent fetishisation of digital photography effaced the very claims of realism upon which the promise of the photograph’s revolutionary potential was based?”

‘Re-de-photography’ – Mark Prince argues that in our social media saturated culture, to photograph or film something is becoming a substitute for that same experience

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[image: Luc Delahaye, ‘L’Autre’, 1995–97]

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A monochrome photographic portrait of a Paris Metro passenger taken surreptitiously.

“The paradox reflects photography’s conflicted role in a mediated world – rife with image manipulation – as both the medium that most effectively dissembles its form in order to simply attest, and the one most likely to deceive with its evidential appearance.”

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Photo of 10 art Monthly magazines scattered in a pile with two books of artist interviews laid on top.

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Photo of the Liam Gillick cap with the slogan ‘taking art apart since 1976’.

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‘Art Treatment’ – Tom Denman assesses what it takes to make art in and for hospitals, concluding that the best approach encourages an ‘interdependent therapeutic gaze’

November Art Monthly

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[image: Abbas and Yasiin Zahedi, ‘Magnetic Sun’, 2022]

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A photograph of a while wall painted with a yellow disk pinned with assorted images relating to various different faiths.

“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?”

‘Curating Difference’ – Lisa Slominski asks whether it is possible to contextualise difference with care and without instrumentalising it

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[image: Nnena Kalu, installation view, Arcadia Missa, London, 2024]

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A photograph of a gallery space featuring two sculptures hanging from the ceiling that consist of knotted masses of ribbon-like strips of coloured material.

“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.”

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‘Time Travel’ – Suzanne Treister interviewed by Jamie Sutcliffe

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[image: Suzanne Treister, ‘Q. Would You Recognise a Virtual Paradise?’, from the series ‘Fictional Video Game Stills’, 1991–92]

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An image of an 8-bit video game screen showing a coral-like landscape.

“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.”

A monochrome photograph of a veiled figure seen in the centre of a swirling photographic effect.

November art jobs, grants and other artists’ opportunities, plus art listings, podcasts and more in the latest newsletter:

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[image: Heather Ageypong, ‘Can you hear that?...No..Right!’, 2025, in conversation, 7pm 12 Nov, New Art Exchange, Nottingham]

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Delivered to your door:
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TAKING ART APART SINCE 1976

#art

Art Monthly magazine November issue with a cover featuring hand-painted text reading: The Sky Was The Colour Of The Death Of The Internet

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]

Karimah Ashadu – Profile by Kathryn Lloyd

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[image: Karimah Ashadu, ‘Machine Boys’, 2024]

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A film still showing a close-up of a motorcycle kicking up dirt.

“‘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.”

‘On Magazines’ – Chris Townsend both celebrates and laments magazines, past and present, that made a difference, even if only temporarily

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[image: ZG and Semiotext(e) magazine covers]

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A pair of magazine covers, the first being SG which shows a topless male figure staring down the camera and the second is Semiotext(e) which is emblazoned with the word ‘schizo’.

“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.”

From the Back Catalogue: ‘We Are the Robots’ – Aoife Rosenmeyer asks how should we coexist with robots and intelligent machines

Read for free now:
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[image: Laurie Simmons, ‘The Love Doll / Day 32 (Blue Geisha Close-up)’, 2011]

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A portrait photograph of a robot in Geisha make-up.

“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.”

‘Art and Obsolescence’ – Bob Dickinson points out that artists’ long-term fascination with obsolescence has turned darker with the development of new technologies

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[image: Aisling Phelan, ‘Goodbye Body’, 2025]

#art

A humanoid robot with a realistic human face lying on the floor.

“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.”

‘Uneasy About ESEA’ – Morgan Quaintance argues that the homogenising effect of the ESEA label risks blocking a transformative and reciprocal exchange between global regions

October Art Monthly
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[image: Momoe i manu ae ala atae’e Tasker, ‘Protest banner for West Papua’, 2024]

A gallery view of an appliqué protest banner proclaiming: ‘Solidarity, Liberation, Self-determination. Free West Papua’.

“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.”

‘Looking Back in Anger’ – Naeem Mohaiemen interviewed by Amna Malik

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[image: Naeem Mohaiemen, ‘Through a Mirror, Darkly’, 2025]

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A shot of monochrome archival film strip showing a cameraperson filming an interviewee while soldiers watch on.

“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.”