“Completely committed to the development of young talent”: Introducing Liverpool Biennial’s Associate Artists Programme In offering international travel expenses, curatorial mentorships and commissions, Liverpool Biennial is giving artists based in […]

I’ve written a review of Katrina Palmer’s solo exhibition The Necropolitan Line at Henry Moore Institute for The Double Negative. Read it here: http://www.thedoublenegative.co.uk/2016/01/katrina-palmers-the-necropolitan-line-reviewed/

Within Tate Liverpool’s new exhibition An Imagined Museum hangs Martin Kippenberger’s large oil painting The Modern House of Believing or Not (1985). Kippenberger’s anarchic sense of humour and irony are […]

The camera silently glides across a row of glass panes. Piercing sunlight dances across these surfaces, accentuating layers of dirt and the passage of time. Glimpses of an overgrowing garden […]

My feature on Super Slow Way, commissioned by CVAN as part of its #writecritical programme, has been published on The Double Negative. Read it here. Image:  Stephen Turner’s Exbury Egg, western red […]

My review of the latest Harris Museum and Art Gallery exhibition, A Green and Pleasant Land?: Rural Life in Art is now online on Corridor8. You can read it here. […]

In today’s fast-paced digital society, what role does the humble postcard play? As people increasingly use smartphones and apps such as Facebook and Instagram to capture and circulate their own […]

Artist, illustrator, printmaker, performer: Jack Welsh discovers an exceptionally varied and prolific body of work spanning sixty years at Tate Liverpool’s Brătescu retrospective… What significance does the studio hold for […]

György Kepes: The New Landscape 15 April – 19 June 2015 Exhibition Research Centre, Liverpool John Moores University In 1951, Hungarian-born polymath György Kepes organised The New Landscape at The […]