︎
The house as self-portrait: John Soane’s words through an artistic gaze
Rochelle Roberts
The Orobie Biennial puts art into the Bergamasque Prealps
Will Jennings
recessed.space: Ground Collective communicate with silent rivers
Venice Biennale 2025: part 3, the
ugly
Venice Biennale 2025: part 2, the b
ad
Venice Biennale 2025: part 1, the good
00201
Jupiter Artland: a Scottish landscape packed with uncanny, playful & enormous art
Will Jennings
Laura Aldridge
,
Amethyst
,
Phyllida Barlow
,
Bonnington House
,
Pablo Bronstein
,
Henry Castle
,
Cemetery
,
Ceramics
,
Nathan Coley
,
Edinburgh
,
Edinburgh Art Festival
,
Folly
,
Forest
,
Fountain
,
Anya Gallaccio
,
Andy Goldsworthy
,
Antony Gormley
,
Gothic
,
Graveyard
,
Grotto
,
Ian Hamilton Finlay
,
Jacobean
,
Charles Jencks
,
Will Jennings
,
Jupiter
,
Jupiter Artland
,
Anish Kapoor
,
Landscape
,
Peter Liversidge
,
Rachel Maclean
,
Modern Institute
,
Painting
,
Cornelia Parker
,
Rock
,
Andrew Sims
,
Stone
,
Temple
,
Trees
,
Marc Quinn
,
Joana Vasconcelos
,
Water
,
Nicky Wilson
,
Robert Wilson
,
Woods
00157
Jason Wilsher-Mills in Wakefield: sculpture, disability, care & an Amazonian Caiman God
Will Jennings
Amazon
,
Boat
,
Bronze
,
Caiman
,
Care
,
Carers
,
Sebastian Coe
,
Edward Colston
,
Conservative party
,
Damien Hirst
,
Disability
,
God
,
Will Jennings
,
Alison Lapper
,
Mobility
,
Monument
,
Moscow Olympics
,
Parents
,
Public art
,
Marc Quinn
,
Sculpture
,
SHAPE Arts
,
Statue
,
Taxidermy
,
Ticket offices
,
Underpants
,
Venice Biennale
,
Jason Wilsher-Mills
,
Wakefield
,
Walton Hall
,
Charles Waterton
,
Wheelchair
,
Wellcome Collection
,
Yorkshire
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