SPIKE MAGAZINE

Reviewed by Declan Tan Steve McQueen’s second feature is a visually arresting, thematically dense piece of cinema, that may, and probably will, prove to be an important film in years to come. That is, if enough people get to see it. Having been cursed

The final photo-essay by Dr Nick Maroudas on Jacob Epstein’s public sculptures around London. The series begins here Epstein lived at no. 18 Hyde Park Gate, and it says much for the civic pride of this ultra-respectable neighbourhood that he was twice

The sixth of Dr Nick Maroudas’ photo-essays on Jacob Epstein’s public sculptures around London. The series begins here These little works are scattered round the world, but I happened to snap them on exhibition in the West End. The Epstein centenary

The fifth of Dr Nick Maroudas’ photo-essays on Jacob Epstein’s public sculptures around London. The series begins here “The finest body of mounted riflemen in the world”. Generous tribute to a former foe of the British Empire, from Churchill’s

The fourth of Dr Nick Maroudas’ photo-essays on Jacob Epstein’s public sculptures around London. The series begins here Victoria – For London Transport Transport House at 55 Broadway, over St James Park tube station, was the tallest building in

The third of Dr Nick Maroudas’ photo-essays on Jacob Epstein’s public sculptures around London. The series begins here One side of John Lewis’s (“never knowingly undersold”) fronts bustling Oxford Street with its rabbits that dart on and off

The second of Dr Nick Maroudas’ photo-essays on Jacob Epstein’s public sculptures around London. The first is here “Let’s all / Go down the Strand”. Walking along the Strand is always a pleasure because of its variety and the nearness of the

The first of seven photo-essays by Dr Nick Maroudas on Jacob Epstein’s public sculptures around London Prologue I had read Epstein’s Let There Be Sculpture in South Africa, along with many other books, when I came to Imperial College of Science

Reviewed by Sourav Roy How does one review a book like BibliOdyssey? This is not just a rhetorical question to open a book review, but also a genuine query. Because though BibliOdyssey feels like a book and looks like a (very handsome) book, is anything

Jacob Knowles-Smith sits down for a TV dinner with Tom Wolfe Thankfully BBC Four hasn’t been demolished just yet. If it had been, we wouldn’t have had chance to enjoy its recent ‘All American’ season. They say that BBC 2 would absorb the channel’s

Reviewed by Declan Tan Not every book looks and feels like an artefact when you pick it up. Oftentimes it is just words printed across cheap paper, the literal form of it separated from its content, cased in a merely functional cover with some gluey

Reviewed by Ben Granger 1. The purpose of politics is to inspire art. The only useful thing it has ever achieved When Marshall Brennan argued “The Manifesto is remarkable for its imaginative power… It is the first great modernist work of art”, he

MANIAC (Multi-media Artist Network Idea Exchange and Collaboration) is a loose collective of twenty-three international artists connected principally through social media. Thyrza Nichols Goodeve introduces MANIAC’s second exhibition, first shown at

In 1995, Thyrza Nichols Goodeve interviewed twin brothers Timothy and Stephen Quay about their beautiful full-length debut Institute Benjamenta, or This Dream People Call Human Life. Many thanks to the author for permission to reprint in full. The animated-puppet

Lesley Dill, 'Rush', 2006-07. Metal foil, organza, and wire; dimensions variable Lesley Dill’s work begins with language and extends, through many shapes and forms, to the body and the community. Thyrza Nichols Goodeve’s essay ‘Words

Vanessa Libertad Garcia drops into Los Angeles’ stunning Annenberg Space for Photography for an exhibition exploring how processed imagery influences our notions of beauty In Los Angeles, we drive a lot. It can take anywhere between half an hour

James Barsness 'I Am Discovered' (detail), 1994, mixed media on paper; 46.4cm x 38.7cm; from the collection of Mickey Cartin, Florida Drawing on comic strips to explore “crackpot ideas” about social interaction, the Barsness universe

Five Wounds is something of a contemporary classic: a manuscript crossed with Kit Williams’ playful imagination, informed by the language of graphic novels. Although very much a book, in the tactile sense, it has half an eye on what a book might

Declan Tan finds the artist Gillian Wearing lives up to her surname in the full-length film project Self Made Gillian Wearing has a history of getting people on camera and making them open up. In the 1990s, she placed an advert in Time Out asking people

Sourav Roy interviews New Zealand artist Shannon Novak about the history of synesthesia and how his practice focuses on the relationship between sound, colour, form, time, and social context Just what shade of orange is a hemidemisemiquaver? If you

Luke Velazquez on the singular experience of the queer punk scene, reflected in the work of sculptor Fernando Carpaneda In our society, people are expected to behave in a certain way. To grow up, go to school, work a soulless dead end job, squirt out

This dialogue between Matthew Ritchie and Thyrza Nichols Goodeve first appeared in the catalogue for the artist’s exhibition Proposition Player, organized by Lynn M. Herbert, December 12, 2003-March 14, 2004, Contemporary Arts Museum Houston in association

Aimee Mullins in Matthew Barney’s Cremaster Cycle SUSPENSION [Cremaster] SECRETION [pearl] SECRET [biology] by Thyrza Nichols Goodeve “…what others call form I experience as force” – Roland Barthes LAYER 1: SUSPENSION Begin with iridescence

In the wake of this month’s funding announcements by the Arts Council of England, Joseph Spencer offer an American perspective on the philanthropic model for the arts As the arts in Britain undergo significant changes to their funding structures, debates

Jeanette Hewitt learns about a different kind of book technology from Judith Wiesner In a time where digital technology appears to be taking over the world, I deemed it necessary to pay closer attention to a more hands on, artistic approach to our crafts,