In his latest column, Ceasefire's art critic, Daniel Barnes, reviews the Tracey Emin retrospective at the Hayward Gallery, and finds "a seemingly relentless barrage of desperation, loneliness and outright anguish". Emin, he concludes, is worth the hype.
A selection of works from the Government Art Collection is currently on display at the Whitechapel gallery. Ceasefire's Art Critic, Daniel Barnes, looks at the "insidious desire to use art to exercise political power."
The arrival of spring hails the start of the great artworld circus that is the Turner Prize. Watching the shortlist trigger the usual mixture of ill-conceived cynicism and giddy elation, Ceasefire columnist Daniel Barnes says it's time to reflect on the cultural relevance of Britain’s most coveted art prize.
In a new column on art and politics, art critic Daniel Barnes explores the work of two Lebanese artists, Walid Raad and Rabih Mroué, who bring to the fore, in his view, the crucial role of art as a tool of resistance.