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1 month ago | 
theartnewspaper.com | Anna Brady |Simon Bainbridge |David D'Arcy
“I am dead already. I just haven’t been buried yet,” says Jean-Claude Saintilus at the beginning of The Sculptors of Grand Rue, Leah Gordon’s 2008 documentary. Claude (as he was known) Saintilus is speaking at the beginning of November and it’s Fèt Gede, a time of celebration, a Haitian festival of the dead. Framed in the shadow of his yard against the backdrop of his assemblages, he is explaining the connection between his ancestors, the Vodou spirit world and his artworks.
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Jan 17, 2025 | 
theartnewspaper.com | Simon Bainbridge |David D'Arcy |Tom Seymour
“You cannot do business on a dead planet,” the photographer and climate activist Cristina Mittermeier says when asked what she’d say if she got five minutes with one of the world’s leading chief executives. She may well get that chance. Mittermeier is one of a select number of artists invited to be cultural leaders at the World Economic Forum’s annual meeting in Davos, Switzerland, alongside more than 2,000 business leaders, heads of state and leaders of civic society.
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Jan 10, 2025 | 
theartnewspaper.com | Simon Bainbridge
“Weegee is an enigma,” writes the French curator Clément Chéroux in the catalogue that accompanies a touring exhibition of the photographer, which opens in New York this month.
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Jan 6, 2025 | 
theartnewspaper.com | Simon Bainbridge
“No, I hate Ai,” writes @yorxfoly on Instagram. “Proud people sharing images that their computer spat out and thinking they have any sort of artistic vision, makes me sick.”He and others with a split of opinions on the use of generative artificial intelligence (AI) to make art are reacting to a post by Charlie Engman sharing an opinion piece he has written for Art in America.
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Dec 19, 2024 | 
theartnewspaper.com | Gareth Harris |Aimee Dawson |Alexander Morrison |Dale Berning Sawa |Elizabeth Fortescue |Ben Luke | +5 more
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Nov 21, 2024 | 
theartnewspaper.com | Simon Bainbridge
Andrei Molodkin, the artist who made headlines earlier this year when he took $45m worth of art ‘hostage’—threatening to destroy them if Julian Assange died while confined in prison—is showing his portrait of the WikiLeaks founder in public for the first time in an exhibition at the National Gallery in Sofia, Bulgaria.
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Nov 15, 2024 | 
theartnewspaper.com | Simon Bainbridge
It is not what you can see in the fragmented images in Taysir Batniji’s Disruptions, winner of the top honour at this year’s Paris Photo-Aperture PhotoBook Awards, that matters, but rather what is left out of the pictures. The idea for the work dates back to 2015, prompted by WhatsApp calls with his family that were disrupted by poor connections. “The screen became totally corrupted, destroyed. I found this very intriguing,” says Batniji, who began making screengrabs.
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Nov 7, 2024 | 
theartnewspaper.com | Simon Bainbridge
A Spanish artist’s studio has been devastated by last week’s catastrophic flash floods, which ripped through the country’s eastern regions, killing more than 200 people and destroying millions of euros worth of property and infrastructure in their wake. Ricardo Cases, who lives and works close to the town of Torrent on the western edge of Valencia, escaped the floods, but lost much of his work after his studio was wrecked, and his books and photographs washed away.
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Nov 1, 2024 | 
theartnewspaper.com | Simon Bainbridge
“The Tate is so woke at the moment, they probably plumped for that more hardline, left-wing agenda of Ten.8 and Camerawork [magazines],” says the UK photographer Martin Parr about the inclusion of the photography publications in Tate Britain’s forthcoming exhibition The 80s: Photographing Britain. It is a reminder that the 1980s was a time of highly contested opinion, and a challenge to anyone who tries to catalogue the many strands of emergent photographic practices in that formative decade.
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Jul 29, 2024 | 
1854.photography | Simon Bainbridge
Shanghai Wild Animal Park, Shanghai, China. All images © Zed Nelson Shot over six years across four continents, ‘The Anthropocene Illusion’ is a disturbing insight into a world in which the natural world is replaced by spectacleSat together in front of a computer screen in his home and studio in a leafy north-east London street, Zed Nelson and I are going through the dummy layout of a recently completed project he plans to turn into a book.
