Feature

Carrie Walter Stettheimer, Stettheimer Doll House (front view) c.1916–35. Wood, bronze, marble, alabaster, gilding, cardboard, paper, foil, linen, ceramic, oil, ink, watercolour, gouache, graphite, Conté, pastel, coloured pencil and other materials, 79 × 132 × 94 cm. Courtesy: Museum of the City of New York

From medieval Wunderkammern to portable museums, Duchamp’s suitcases, and dolls’ houses, the miniature is an enduring and radical art form

Jacob van Hulsdonck, A Still Life of a Laid Table, with Plates of Meat and Fish and a Basket of Fruit and Vegetables, undated. Oil on panel, 72 × 104 cm. Courtesy: Johnny Van Haeften, London

Meditations on still life

Installation view of ‘International Congress of African Culture’, 1962, a pan-African exhibition at the Rhodes National Gallery, Salisbury, Rhodesia (now Zimbabwe), which set a precedent for ‘Magiciens de la terre’, the Pompidou Centre, Paris, 1989. Courtesy: National Gallery of Zimbabwe, Harare

The context and legacy of Jean-Hubert Martin’s contentious 1989 exhibition, ‘Magiciens de la terre’

A survey of international writers, curators and artists in response to recent controversies surrounding appropriation

Hercules Florence Épreuve no.°2 (photographie), Ensemble d’étiquettes pour flacons pharmaceutiques (Print no. 2, Photography. Set of Pharmacy Labels) c.1833. Photographic copy of pharmacy labels obtained through direct contact with photosensitive paper under the action of sunlight, 22 × 20 cm. Courtesy: Instituto Moreira Salles Collection, Rio de Janeiro

The remarkable story of Hercules Florence and his pharmacy labels 

Attributed to Jacob Agnesius, Saint Sebastian, c.1638. Ivory carving. Courtesy: Colnaghi

As morbid devotional objects go on show at Frieze Masters, one writer asks: why do we look at violent religious art?

Kris Lemsalu, Full Time Friend Erik, 2015, skull, textile, porcelain, plastic. Courtesy: the artist, Koppe Astner, Glasgow, and Temnikova Kasela, Tallinn

Human playthings and disfigured dolls in the work of Jean-Marie Appriou, Veit Laurent Kurz, Kris Lemsalu and Athena Papadopoulos

‘Sad Sketches’, 2014, installation view at Piper Keys, London. Courtesy: the artist and Piper Keys, London; photograph: Original&theCopy

Stuart Middleton’s sculptures, stories and films reflect on the violence of gentrification and London’s changing urban landscape

‘Discrepancies with G.G.’, 2017, exhibition view at Tensta Konsthall, Stockholm. Courtesy: the artist and Tensta Konsthall, Stockholm; photograph: Jean Baptiste Beranger

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Influence and innovation in the sculptures of Leonor Antunes

Jimmie Durham, Self-portrait Pretending to Be Maria Thereza Alves, 2006, photograph, 81 × 60 cm. Courtesy: the artist; photograph: Maria Thereza Alves

On recent artistic appropriation controversies

Katy Perry featuring Juicy J, ‘Dark Horse’, 2013, music video still

On the intertwined histories of music, sampling and influence

Video

Sponsored Content - 12 Dec 2017

Kosovo-born Sislej Xhafa's first exhibition in Germany speaks to the artist's concerns around identity politics and his birthplace

Sponsored Content - 08 Dec 2017

With her current solo show at Anton Kern Gallery, New York, the Dutch-American artist explains her travelling, hybrid procession-protest piece which uses graphic design and portable sculptural pieces to champion women’s rights