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Hetain Patel: “I Want to Make the South Asian Black Panther”

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Siren Call: Why Is Art Mesmerised by Mermaids?

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Interaction Interrupted: Will Performance Art Survive the Pandemic?

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Dawn Williams Boyd: Faith Ringgold Inspired Me to Change My Art

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Now You See Me: The Artists Questioning the Construction of the Self

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Female Agency Is Central to Zoya Cherkassky-Nnadi’s Portraiture

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Tala Madani Revels in the Messy Side of Motherhood

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Dive Into the Work of These Young Artists Exploring Queer Intimacy and Love

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How I Learned Not to Worry About Being Cool and Fell in Love with Renoir Again

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Seeing Double: Liam Fallon on the Secret Sentimentality of Everyday Objects

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Philip Emde, .. Bat .. Ball … Leopard’n CO…., 2021

Elephant’s Pick of August’s Essential Artists

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Tokyo Drift: What Hides Behind the Neon Glare of the Japanese Metropolis?

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Honey, We Shrunk the Art! The Return of the Micro Gallery

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Future Shock: Haunted by the Ghosts in Kara Chin’s Machines

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Fish Out of Water: Sea Life and Strangeness in the Paintings of Minyoung Choi

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Scented Lard, VR and Flesh Lumps in the Work of Candice Lin

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The Colourful Canvases of Muzae Sesay Tackle the Personal and the Political

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Georgia O'Keeffe. Black Mesa Landscape, New Mexico / Out Back of Marie's II, 1930. Oil on canvas, 24 1/4 x 36 1/4 inches. Georgia O'Keeffe Museum. Gift of The Burnett Foundation © Georgia O'Keeffe Museum

Georgia O’Keeffe Harnessed the Potency of Oil Paints with Meticulous Restraint

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Ones to Watch: Elephant’s Pick of This Year’s Most Exciting Art School Graduates

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Top of the Poops: Revisiting Matthew Barney’s River of Fundament

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Igshaan Adams Rewrites the Contours of Domestic Life in His Linoleum-Inspired Art

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Rising Stars: Elephant’s Pick of This Year’s Most Exciting Art School Graduates

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Jean-Honoré Fragonard (1732-1806). Paris, Musée du Louvre

Flora Yukhnovich: Jean-Honoré Fragonard Taught Me the Immersive Power of Paint

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Seeing Red in the Beautiful-Grotesque Paintings of Amanda Ba

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