Unit London

When Kate Moss met Juergen Teller!

For more than three decades, Juergen Teller and Kate Moss have shared a creative relationship that helped define the visual language of the 1990s.

Together, they captured something far removed from the polish of traditional fashion imagery, an intimacy and instinctive sense of character that made their collaborations feel as much like cultural documents as fashion photographs.

As The 90s: Art and Fashion opens at Tate Britain, their enduring partnership stands as a reminder of how profoundly the decade blurred the boundaries between art, fashion and popular culture.

Sho Shibuya’s latest Opinion.

Now on view as part of Time, Truth, and Other Immeasurables at the Utah Museum of Contemporary Art, Sho Shibuya exhibits amongst an exceptional roster of artists including Robert Smithson, Kara Walker and Bill Viola.

In Opinion, Shibuya turns his attention from the front page to the editorial pages of The New York Times. The section title, date and headline remain visible, while the content of each piece is painted over, transforming the page from a vehicle for argument into something open to interpretation.

A compelling new development in Shibuya’s ongoing relationship with the newspaper: preserving the trace of a particular moment while asking what remains when the words are no longer there to tell us how to read it.

UMOCA Sho Shibuya

Museum Azman acquires Still Waiting by Jess Allen.

The Kuala Lumpur-based museum has added Allen’s monumental work to its renowned permanent collection, placing her alongside an impressive roster of artists including Tracey Emin, Anselm Kiefer, Antony Gormley and Ibrahim Mahama.

Jess Allen’s Still Waiting, conceived for her solo exhibition We Want to Believe in Impossible Things at Unit last year, takes the suspended experience of waiting and makes it almost physical.

As Museum Azman describes it, the work captures “the fragile ache of waiting for a big change that is right on the horizon but hasn’t quite arrived yet”, translating a psychological tension into a striking visual strain.

She “pours our deepest vulnerabilities.” Against a richly textured fabric backdrop.

It’s that contradiction that keeps pulling us back to the painting, the heaviness of being caught between what was and what is to come, alongside the possibility that there might be something quietly beautiful in that state too.

Jess Allen Museum Azman