Author Archives: Tina Hanson

The first thing the shirt does is refuse you. Across the chest, in orange and cream retro lettering, runs the phrase THIS IS SOME BOO SHEET. Beneath it, or beside it — the observation places the elements in a single … Continue reading →

There is no published Chile count at Tate. Not in the collection overview, not in the acquisition policy, not on the Latin American Acquisitions Committee page. Anyone who tells you otherwise — or who produces a number without showing the … Continue reading →

The first thing the shirt does is borrow authority. Across the chest, in the flat, condensed capitals of a municipal notice, it reads NOT FRIENDLY. Below that, DO NOT TOUCH. Beside the words sits a yellow caution triangle, and inside … Continue reading →

An orange jack-o’-lantern face sits on the shirt. It has the standard carved features — the triangular eyes, the notched grin — and then, in the mouth, two pointed fangs. That is the whole design. No text, no caption, no … Continue reading →

In 1971, a project began in Santiago de Chile to gather donated artworks from artists across the Americas and Europe, with the aim of creating a museum for the people of Chile. The Museo de la Solidaridad Salvador Allende (MSSA) … Continue reading →

An orange jack-o’-lantern face sits on the front of a shirt. Two triangular eyes. A jagged mouth. That is the whole design, as observed in the supplied listing for the Scary Jack O Lantern Face Halloween Costume Pumpkin from Quirky … Continue reading →

Editor’s note: Number Nine and Quirky Cotton Collective share an owner. The design is almost aggressively simple. Across the chest, in a heavy sans-serif, the words GOT TOO SILLY sit in flat caps. Below them, a white goose-like bird faces … Continue reading →

Editorial note: Number Nine and Quirky Cotton Collective share an owner. This is not an independent review. The first thing the eye finds on this shirt is not the joke. It is the hat. A cream, engraved-style pointed witch hat … Continue reading →

Migration is not a theme that contemporary British art occasionally visits. It is one of the material conditions that produces it. Artists move; so do the funding streams, the studio rents, the gallery leases, the collectors, the curators, the fabricators, … Continue reading →

When I ran a gallery in Manchester, I spent more time writing about art than showing it. Not criticism — that would have been a pleasure. I mean the other writing: project narratives, outcome reports, case studies, impact statements, social … Continue reading →