United Kingdom
David Trigg is a writer, critic and art historian based in Bristol, UK. He is a regular contributor to books on art and has contributed articles, reviews and interviews to publications including Studio International, Art Quarterly, The Art Newspaper, Art Monthly, ArtReview, ArtUK, Frieze, The Burlington Magazine, Art Papers and MAP.
He is the author of Reading Art (Phaidon Press, 2018), which 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 and selected by The Times as an art book of the year. His book, Spring (Tate Publishing, 2020), explores the season of spring through 50 artworks from the Tate collection.
His latest book, Money In Art: From Coinage to Crypto (HENI Publishing, 2024) features a curated selection of over 80 artworks from Pop Art to now surveying how artists have placed money centre stage in their work –– from early works of Pop art, which conveyed the seductive power of money and exposed art as a commodity, to contemporary artworks that use currency as a lens to examine pressing social, economic, and political concerns.
David's writing on art appears in numerous other books, including Great Women Sculptors (Phaidon, 2024), Latin American Artists (Phaidon, 2023), Great Women Painters (Phaidon, 2022), African Artists (Phaidon, 2021), Vitamin D3 (Phaidon 2021), Great Women Artists (Phaidon, 2019), and Vitamin T (Phaidon, 2019). A selection of his interviews with artists are included in Talking Art 2 (Ridinghouse, 2018).
David holds a PhD in Art History from the University of Bristol and in 2018 was awarded a Postdoctoral Fellowship by the Paul Mellon Centre for British Art. He has a Master’s degree in History of Art and a first-class Bachelor’s degree in Fine Art. He 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.