Unequal Relations: ‘Africa’s Struggle for Its Art’ by Bénédicte Savoy, ReviewedJ.J. CharlesworthArtReview08 July 2022A history of paternalism, postcolonial defensiveness and straightforward (but nevertheless coded) bigotry
Why NFT Art Is Obsessed With Our BodiesJ.J. CharlesworthArtReview29 June 2022What the reaction to Madonna’s new NFT collaboration with Beeple reveals about the status of human-centred reality
Documenta 15 Review: Who Really Holds Power in the Artworld?J.J. Charlesworth17 June 2022Ruangrupa’s rhetoric of collectivity and self-organisation muffles a wider range of motives and interests
The Return of Magic in ArtJ.J. CharlesworthArtReview30 May 2022Do we prefer the unworldly to the world we currently live in?
Indicting Digital Capitalism: Jonathan Crary’s ‘Scorched Earth’, ReviewedJ.J. CharlesworthArtReview20 May 2022There is plenty to deride about contemporary power structures and ‘the internet complex’, but the visual theorist’s alternatives are unconvincing
‘Draw Your Own Conclusion’: a Provocative Remixing of a Historical Museum CollectionJ.J. CharlesworthArtReview08 April 2022‘Pas Besoin d’un Dessin’ at Geneva’s Museé d’Art et d’Histoire gives curator Jean-Hubert Martin carte blanche to select from over 500,000 works of fine art, jewellery and antique weaponry
Flora Yukhnovich’s Bacchanalia of Painterly ExcessJ.J. CharlesworthArtReview01 April 2022In her big, dazzling canvases, voluptuousness takes on a more monstrous, excessive form
