January 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: Frederick Wiseman, ‘Public Housing’, 1997, screening at the ICA, London, 7.50pm 15 Jan] #artjobs

“For a politicised faction of Conceptual Art, the curator was the enemy: a bureaucratic manager complicit in the process of the institutionalisation, normalisation and recuperation of artistic production; someone whose job was to come between art and its projected community.”

“There is seemingly no contradiction between the museum which, on the one hand, proudly declares its progressive agenda while, on the other, furloughs its workers, curtails hours and trims wages.”

“Alain Corbin traced the ways that stench was perceived and analysed in late-18th-century France, in contrast to the emphasis on deodorisation under modernity where the realities of foul odours are hidden and repressed in the denial of abjection.”

“The young central character, Moon, she is on a kind of journey to understand the world and to figure out how to move forward which, to my mind, is like a gradual letting go of everything that’s known.”

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]

“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?”

“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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“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.”

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.

“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

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]

“‘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.”

“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.”

“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 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

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

“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.”

“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.”

“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.”

“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.”

“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 art jobs, grants, exhibitions and other artists’ opportunities, plus art listings, podcasts and more in the latest newsletter: www.artmonthly.co.uk/newsletters → [image: Felicity Hammond, V3: Model Collapse, 2025, artist talk, 6.30pm 12 Sep, The Photographers’ Gallery, London] #artjobs

Art Monthly, #489, Sep 2025 • Hilary Lloyd interviewed by Chris McCormack • Talking in Class – Dave Beech • Dance Class – Chris Townsend • Maryam Tafakory – Profile by Luisa Lorenza Corna • On Residencies – Maria Fusco + news, views, reviews, more… [cover: Maryam Tafakory, ‘Razeh-del’, 2024]

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“One of the modernist churches in Elizabeth Price’s video resembles an upturned ship's hull. The first narrator says it reminds them of a shipwreck, but the other, more optimistically, proffers its resemblance to a temporary shelter created from maritime catastrophe.”

“The descent from the reception desk towards the installation feels closer to a choreographed execution march as we are seemingly ushered towards the guillotine. We become more attuned to the physicality of our own bodies, as if this is a rehearsal for our own fate.”

August art jobs and other artists’ opportunities, plus art listings, podcasts and more in the latest newsletter: www.artmonthly.co.uk/newsletters → [image: Emeka Ogboh, ‘Ode to the Channel’, 2025, photo Igor Emmerich, Folkestone Triennial Tour with Hettie Judah, 11am Sat 16 Aug] #artjobs

“It was writing that led me to photography as a form of representation that was not intimidating to an audience in the way that a painting can be. Also, my working-class origins played a part here. I was feeling increasingly alienated from this bourgeois art world in which I had landed.”

“If we were to look for a single market mechanism in the art world that has had an outsize impact over the past 20 years – something we might provisionally put alongside the advent of Spotify or Netflix or Amazon in different spheres – it is surely the proliferation of art fairs.”

“Ultimately, it might be suggested that what matters is not destruction in the public sphere or by the public, but the destruction of the public sphere itself and the social bonds that it can foster.”

“Although there are a number of artists engaging with the legacies of the bombing of Hiroshima and Nagasaki, the UK’s curatorial and institutional interest in the topic is slight, which is alarming to say the least.”

“I was interested in the idea of a finish line or a starting line not being linear and someone having many starts and many finishes, an alternative sense of growth and moving at one’s own pace. Competition stifles relationships and how we engage with each other.”

July 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: Fergus Carmichael, ‘Rhadinace’, 2024, ‘Selected 15’ screenings, 10am–8pm 5 Jul, CAST, Cornwall] #artjobs

Art Monthly 488, Jul–Aug 2025 • Ima-Abasi Okon interviewed by Polly Staple • Atomic Legacies – Tom Denman • Art in Decline – Morgan Falconer • Victor Burgin talks to Chris Townsend • Diamond Stingily – Profile by Amrita Dhallu + news, views, reviews, more… [cover: Myriam Mihindou, ‘Rhizôme’]

“Constructed using traditional Korean sewing techniques, details of door handles, light switches, electrical sockets, shower units and other mundane fixtures are drawn in elegant embroidery; memories of specific spaces are complemented by memories of touch.”

“An unexpected moment arrives in the audio recording when Laura Khan Mitchinson’s monologue along the Thames is interrupted by two police officers. We learn that she is recording close to the MI6 headquarters, a ‘protected site’ unfriendly to such uneasily defined artist interventions.”

“This is where we are: a world in which intellectual enquiry and creative endeavour, usually poorly rewarded, is expropriated as raw material through claims of ‘fair use’ for techno-corporatism’s latest profit-enhancing scam …