Tate Britain’s Rehang: A Zombie Social Art HistoryJ.J. Charlesworthartreview.com25 May 2023The British gallery’s first rehang in 10 years reveals Tate Britain’s real problem: it doesn’t really know if it’s relevant to anyone anymore
What Ought We to Do With Great Art Made by Monstrous People?J.J. CharlesworthArtReview18 May 2023A new book explores the dilemma of the fan in the age of cancel culture
Balthus’s Depressive, Prurient CanvasesJ.J. CharlesworthArtReview26 April 2023At Luxembourg & Co, London, Balthus’s objectifying voyeurism reminds us of the dubious, sometimes obscene power of images
The Global Art Market Is Running on FumesJ.J. Charlesworthartreview.com14 April 2023The non-stop party that is the art market of the last decade has of course roared regardless of economic downturn or conflicts around the world, but nothing lasts forever
What Really Is the Point of Making Picasso ‘Relevant’?J.J. CharlesworthArtReview11 April 2023As the Musée National Picasso-Paris redesigns its display of Picasso’s work, does the search for relevance obscure the art itself?
Did Racism Give Birth to Identity Politics?J.J. CharlesworthArtReview14 March 2023’Not So Black and White‘ by Kenan Malik examines centuries of racial thinking and its recent reverberation
‘Open Door’: The Quiet Revolution Inside the BBCJ.J. CharlesworthArtReview01 March 2023A new show at Raven Row, London unearths a 50-year history of community broadcasting – and reminds us of the radical potential of the archive