‘Monica’ by Daniel Clowes Review: The Mundane, Freakish PeopleJ.J. CharlesworthArtReview13 November 2023Clowes collides sci-fi tropes with emotional complexity and the frustrations of dead-end contemporary life
Benjamin Senior’s London Is BeautifulJ.J. CharlesworthArtReview03 November 2023‘Minor Streets’ at Carl Freedman Gallery, Margate revives the unmodish influences of the kind of social realism that emerged in Britain during the 1930s
Gabriel Massan’s Decolonial GamesJ.J. CharlesworthArtReview19 October 2023Alongside various collaborators at the Serpentine Gallery, London, Massan asks what we want the ‘developing world’ to develop into anyway
Philip Guston and the Politics of Painted ImagesJ.J. Charlesworthartreview.com13 October 2023Guston’s retrospective at Tate Modern has finally opened, with the help of heavy handed curators
Casey Reas and Art After the Crypto CrashJ.J. CharlesworthArtReview30 August 2023Crypto has crashed and burned, but NFT visual culture is the better for it, and here’s why, says the pioneering artist and programmer
The ‘Dis-Possession’ of ArtJ.J. CharlesworthArtReview10 August 2023A new book by David Joselit considers the idea of property as a defining aspect of modern art
The Hazy Outlines of Brian Dillon’s AffinitiesJ.J. CharlesworthArtReview08 June 2023The thorny question of personal taste is unfolded by the Irish art critic in an exploration of what it means to be drawn to one artwork over another
