As Celmins opens her new retrospective at Fondation Beyeler, just outside of Basel, Ben Street wonders how close an artwork can ever get to its source material
The films of Ayanna Dozier reclaim the stigmatised figure of the ‘whore’ to portray sexual labour as neither a feminist gesture nor an exploitative trap
From 2000: The artist had a Tate St Ives residency in 1998/99 when she worked from a temporary studio improvised in the lifeguard’s hut. Here, she recounts her experience
From 2012: Resonating throughout the exhibition is a belief that ideas ask for a physical form and that we always think with the help of the material world
