︎
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
00161
The forecast for Brighton is: bricks, change, decay & sculpture
Bricks
,
Brighton
,
CAN
,
Change
,
Climate change
,
Coast
,
Council houses
,
Decay
,
Felicity Hammond
,
Gilbert Murray Simpson
,
Portslade
,
Ronuk polish
,
Sculpture
,
Softening
,
Steel
00159
Antony Gormley’s Body Politic, in the artist’s own words
Body
,
Civil engineering
,
Clay
,
Concrete
,
Corten steel
,
Engineering
,
Geometry
,
Antony Gormley
,
Manufacturing
,
Napoleon
,
Bruce Nauman
,
Process
,
Sculpture
,
Steel
,
Threshold
,
White Cube
00142
Material, form & process: Matt Rugg’s post-industrial sculptures
Will Jennings
Alvar Aalto
,
Apollo Pavilion
,
Assemblage
,
Cable
,
Chelsea School of Art
,
Cooling towers
,
Craft
,
Design
,
Education
,
Factories
,
Fencing
,
Richard Hamilton
,
Hatton Gallery
,
Industrial
,
Industry
,
Will Jennings
,
James Joyce
,
Metal
,
Merzbarn
,
Newcastle
,
Painting
,
Peterlee
,
Eduardo Paolozzi
,
Victor Pasmore
,
Plastic
,
Gerrit Rietveld
,
Matt Rugg
,
Kurt Schwitters
,
Sculpture
,
Steel
,
Tools
,
TS Eliot
,
Harriet Sutcliffe
,
University of Newcastle
,
Wire
,
Wood
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