United Kingdom
David Trigg is an art writer and critic based in Bristol, UK. He is a regular contributor to books on contemporary art and his reviews, features and interviews with artists have been published in Studio International, ArtReview, Art Quarterly, Art Monthly, Frieze, The Burlington Magazine, Art Papers and Art in Print.
His book Reading Art (Phaidon Press, 2018) explores the relationship between art and literature, creatively tracing the history of how artists have depicted books as symbols, subjects and objects. It was featured on BBC Radio 4’s Open Book programme and was selected by The Times as a book of the year. His latest book, Spring (Tate Publishing, 2020), explores the season of spring through 50 artworks from the Tate collection.
David's writing appears in numerous other books on art, including Latin American Artists: From 1785 to Now (Phaidon 2023), Vitamin C+ (Phaidon 2023), Great Women Painters (Phaidon, 2022), Vitamin D3 (Phaidon, 2021), 30-Second Great Art (Ivy Press, 2018), Flying Too Close to the Sun (Phaidon, 2018), Body of Art (Phaidon, 2015) and The Twenty-First Century Art Book (Phaidon, 2014). His interviews with artists are included in Talking Art 2 (Ridinghouse, 2018). He has a PhD in Art History from the University of Bristol and is a member of the International Association of Art Critics.
In this joyous and eccentric show, Hoyland's jaunty ceramic sculptures are shown alongside equally playful sculptures from contemporary artists including Hew Locke and Phyllida Barlow.
In the Ethiopian artist Elias Sime's first major European museum exhibition, labour-intensive works made from discarded electronic components sit alongside clay vessels and mud-and-straw sculptures, prompting us to reconsider the role of technology in our lives.
Avery Singer was 14 on 9/11 and what she witnessed took its toll on her mental health. Her experience of that day has informed Free Fall, her ambitious solo exhibition at Hauser & Wirth London, which considers the power of memory and the impact of collective trauma.
On the occasion of a major survey of her work at Margate's Turner Contemporary, Brazilian artist Beatriz Milhazes discusses being political, fusing elements of European modernism with Brazilian culture and the increasing importance to her of the natural world.
The American artist's simple, seemingly half-installed sculptural interventions at Henry Moore Institute, Leeds are haunted by a spectral sense of absence
Stanley William Hayter's Atelier 17 became a crucible for American and European artists during the Second World War.
When US bombs began raining down on Baghdad in 2003, the Iraqi painter Mohammed Sami (b1984) was at home with his parents and nine siblings, fearing for his life.
Matthew Krishanu, whose figurative paintings explore childhood, religion, colonialism and empire, talks about why he works from photographs, his hope that viewers will inhabit the people in his paintings, and his inclusion at a forthcoming show at the Hayward Gallery
There's no discernible theme to this exuberant multigenerational survey at London's Hayward Gallery - just an exhibition boldly living up to its title. Painting is having its temperature taken again, and evidently the patient is in rude health.
Diane Simpson's Samurai 10 (1983) is an impossibly flimsy-looking sculpture. Despite finding its inspiration in the armour of elite Japanese warriors, this wonky freestanding work looks ready to crumple at the slightest breeze. Decorated with pale-red-and-white pencil grids, its intersecting MDF planes pivot and bend in accordance with an unfathomably strange yet satisfying geometry.