Reading New Economies
When it comes to the secondary art market, the real picture is revealed in the results. By the looks of those coming from Strauss & Co’s Monday night sale, the picture is bright.
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Editorial
As South Africa’s universities burn with yet another generation being forced to confront the institutional malaise of a neglectful government, this week’s editorial defers to literature.
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Deborah Poynton
This week adjective speaks to Deborah Poynton about the relationship between abstraction and realism in her show Picnic that closes this weekend at the Stevenson.
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Inbetween Vintage & the New
But the thing about the art world, especially when it comes to auctions, is that it operates on a different economy that is not always subject to the same pinched nerves that the premature unseating of a finance minister might bring to the market place.
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An irrational history of failure
Is it too early for Adjective to be self-reflexive? Probably. Does this mean it shouldn’t be? Hell no. Here, at the outset of its indeterminate journey, self-awareness is crucial.
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Editorial
This month adjective celebrates it first birthday. Here, on the internet, time is relative. Browse through this little magazine you’ll notice not a year of stories & fables but rather a month.
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Ernestine White & Yentl Kohler
In the fourth installment of Perspectives, adjective speaks to Curator of Contemporary Art, Ernestine White and Art Educator Yentle Kohler about the collaborative effort of mounting Studio at the Iziko South African National Gallery.
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O, Brother Where Art Thou?
With spring seemingly arriving and the smoke and shouts of student protests apparently fizzling out, it was time last Saturday to take a saunter down to the Goodman Gallery for an opening.
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The Art of Disruptions: Some Reflections
On Thursday 22nd September I attended the opening reception of the exhibition The Art of Disruptions at the Iziko South African National Gallery. To be frank and to assume a contested, reflective position in the practice of art criticism, the exhibition was neither compelling nor disappointing in its curatorial narrative and comprehension.
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Editorial
History is performed over and over again, every day. History is rewritten, reawakened and redressed every time we, in the present, find ourselves at its crossroads.
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