The ‘Non-Art’ of Art FairsMartin Herbertartreview.com20 October 2022Audiences that can’t tell good from bad, artists who can’t either, gallerists who can’t get off the hamster wheel, and a general sense of burnout is a recipe for ‘abundant feelgood staleness’
Mark van Yetter’s Deadpan Broken NarrativesMartin HerbertArtReview17 October 2022‘Plunderbund Charity’ at Ebensperger, Berlin impresses – without didacticism – the self-seriousness of human beings and their varied divertimenti
The Clout Chasers of the ArtworldMartin Herbertartreview.com23 August 2022Is contemporary art’s recent moral tide just a ‘moment’?
The Joys of Looking at Art Outside ‘the Artworld’Martin Herbertartreview.com01 July 2022You’ll have to trust your critical faculties when nothing in the framing is telling you whether what you’re seeing is legit
What Does Rich-Kid Art Look Like?Martin Herbertartreview.com22 June 2022In an artworld reluctant to discuss class, there seems to be no way in without a master’s degree and a subsidised period of ‘emerging’
12th Berlin Biennale Review – Kader Attia’s Broadside Against Global IniquityMartin Herbertartreview.com14 June 2022The exhibition has cunningly critic-proofed itself
Aperol and ASMR: the Artworld Practises SelfcareMartin Herbertartreview.com11 May 2022In troubling times, galleries serve up soothing variations on the familiar
