Black Portraiture: ‘Looking At’ Or ‘Seeing Through’?J.J. CharlesworthArtReview03 May 2024‘The Time is Always Now’ at the National Portrait Gallery, London surveys the ‘Black Figure’ as both a genre and critical concept
NFTs Back to EarthJ.J. CharlesworthArtReview29 April 2024‘On NFTs’ could easily become the headstone for a cultural explosion that seems, for now, to have fizzled out
60th Venice Biennale Review: Who Can Judge?J.J. Charlesworthartreview.com19 April 2024Adriano Pedrosa’s ‘Foreigners Everywhere’ wants art to speak for everyone, but it’s hard to know what it might actually say
What’s a Museum For?J.J. CharlesworthArtReview10 April 2024‘A Model’ at Mudam Luxembourg reflects on the politics of being a public art gallery
The Biennale at the End of GlobalisationJ.J. CharlesworthArtReview03 April 2024What’s next for the contemporary art biennial, now that the era of neoliberal globalisation that shaped it starts to unravel?
Andrew Black’s Nation of MemoryJ.J. CharlesworthArtReview02 April 2024‘On Clogger Lane’ at LUX, London memorialises and wards against forgetting a British past
Julian Spalding Argues for Art’s ValueJ.J. CharlesworthArtReview19 March 2024Spalding’s memoir, ‘Art Exposed’ conjures a period in British history when the public debate around visual art was hotly contested
