
Louise Benson
Digital Director at ArtReview
Director of Digital at @ArtReview_. Co-founder of Scenic Views. Trustee @wysingartscentr. Writing on art, photography, politics + identity.
Articles
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3 weeks ago |
artreview.com | Louise Benson
From Carol Rhodes’s cool aerial views to the voyeuristic animal fantasy of Amanda Moström, our editors select shows to see during London Gallery WeekendHarley Weir: The GardenHannah Barry, through 13 SeptemberHarley Weir got her start as a teenager after posting photographs on online photo sharing platform Flickr. Her images of friends and family were taken on cheap analogue cameras and often featured accidental light leaks and colour bleeds.
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1 month ago |
artreview.com | Louise Benson
The Beirut-based artist and filmmaker’s intimate reflection on land ownership ask how imagination might be used as a tool for political change There is an Arabic term for the rural commons, Al Masha, which refers to communal land that is equally distributed among those who use it. The moment each member stops using the land, they lose their stake in it.
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1 month ago |
artreview.com | Nirmala Devi |Jenny Wu |Louise Benson
Our editors on the exhibitions they’re looking forward to this month, from the Venice Architecture Biennale to Gallery Weekends in Berlin and Beijing19th Venice Biennale of Architecture: Intelligens. Natural. Artificial.
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2 months ago |
artreview.com | Louise Benson
Like a cigarette, ‘feelgood’ art is contrary, anachronistic and fleeting in its pleasureWhat is your ‘feelgood’ film? A rom-com perhaps, or an action flick? Something that doesn’t require much brainpower, is eminently rewatchable and offers a welcome distraction from the real world. Seasonal romps, superhero blockbusters and endless adaptations dominate cinemas (A Minecraft Movie just broke box-office records), while streaming algorithms line up your old favourites for unlimited repeats.
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2 months ago |
artreview.com | Louise Benson
The American-British filmmaker’s poetic portrait of youth explores the power dynamics of the cinematic gaze In the closing credits of Margaret Salmon’s Boy (winter) (2022), the childcare provided by a local primary school is listed alongside the colourist, sound designer and camera assistant who worked on the 30-minute short, which was shot in Glasgow throughout the winter of 2021.
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‘Soon, most images circulating on the internet will no longer be photographic representations of reality, but data-based renderings that are essentially a programmatic fantasy.’ @terrygtnguyen for @ArtReview_ on Hito Steyerl and the AI slop taking over our world.

Steyerl challenges us to recognise the vast scale of AI’s ubiquity and also to realise its ‘artificial stupidity’ https://t.co/EKf9rmaH5T

The sun's out, David Hockney's got a show in Paris, and everything is in bloom here in London. For @ArtReview_, I wrote about the comforting allure of 'feelgood' art and the pleasant lack of being challenged by what you see https://t.co/k3ZpShCCo3

‘Iconoclasts obliterate the icons, Just Stop Oil just gave those icons their five a day.’ https://t.co/pJtR2Q6ns6