Smirna Kulenović: In the Absence, The Artist is Present
This article was previously published in Issue 19, ABSENCE (December 2018). Bosnian artist Smirna Kulenović was born in Sarajevo in 1994...
Clara Peeters on Her Own Terms
This article was previously published in Issue 19, ABSENCE (December 2018). ‘Absence’ is not the first word one thinks of upon seeing a...
The Project
This article was previously published in Issue 19, ABSENCE (December 2018). On the 27th May at about 8pm, I stood trembling before my...
Jenna Burchell: Musing on Memory and Mending
This article was previously published in Issue 19, ABSENCE (December 2018). One of South Africa’s earliest new media artists, Jenna...
Woven in Time: The Importance of Anni Albers
This article was previously published in Issue 19, ABSENCE (December 2018). The idea that only weaving and ceramics art is suitable for...
The Intrigue of Absence: The Subjectless Subject in Giulio Campagnola’s ‘Reclining Woman’
This article was previously published in Issue 19, ABSENCE (December 2018). Few things are more frustrating than the unidentifiable...
Canaletto’s Eternal Venice
In Venice, there are only one or two paintings by Canaletto (1697-1768), nearly everything he produced is to be found in Britain, thanks...
Cruising Towards Decline
Venice is loved for its state of historic perfection. The city remains largely unchanged due to its floating urban structure, which is...
Conservation vs. Modernism: The Venetian Vexation
Venice – a city which is inescapably connected to the modern world, but could never truly belong. During the nineteenth century, Venice’s...
The Life of An Artist: An Interview with Martin Yeoman
Martin Yeoman (https://www.martinyeomanartist.com) is a British painter, draughtsman, etcher and sculptor who has works in many...