This exhibition tells the story of Matisse’s collecting habits, but fails to conjure up the joy of discovery.
The Israeli artist Guy Yanai explains the stories behind the bold, colourful oil paintings in Speak, America, his solo exhibition in New York, and talks about being influenced by Vladimir Nabokov, David Hockney and Matisse.
An exhibition in Berlin uses a collection of correspondence to place the great German conceptualist Hanne Darboven in context.
Bill Viola’s strength is in using the video camera to get under the viewer’s skin, peeling away what we think we know about reality. But now, it seems, he has been seduced by the technology of the medium, to the detriment of his explorations of pure experience.
Until the end of October this year, there will be no exhibition in Gallery 1 of Glasgow’s Gallery of Modern Art. Here, Marlie Mul, the artist who was meant to be showing in the space from May onwards, explains why.
The artist Vic McEwan talks about his project on the swan hoppers of the Murrumbidgee river in Australia, and working with Alder Hey children’s hospital in Liverpool to consider the negative effects of high sound levels in wards. He hopes, he says, to engage the human experience and develop contemporary art forms.
An enchanting matchbox on stilts, with a garden below and a tree at its centre, there is poetry, symbolism and a real emotional intelligence here at dRMM’s new Maggie’s Centre for cancer care in Oldham.
Don’t come to Alexandra Dementieva’s exhibition with the hope of being a passive spectator. As she explains, her aim is to draw the visitor in to her installations, to engage them in public performance.
The multimedia artist Esther Rolinson talks about her exhibition Gravitate at Watermans Art Centre, the allure of light and its qualities as an artistic material, the significance of collaborative work and the incessant movement of her art-making.
Willow Hai, director of the China Institute in New York, talks about its current show, Dreams of the Kings, a spectacular collection of treasures from the Han dynasty, including possibly the earliest dated jade burial suit in existence.
Pioneer of computer art Harold Cohen died last year at the age of 87. In 2015, in one of the last interviews of his life, he talked to Studio International about his long career.
The YBA’s watery comeback dazzles with its extravagance, but the audacity of Hirst’s exhibition only goes so far.
’[Marcel Duchamp:] ...The whole of modern art—the Impressionists, the Fauves, the Cubists—the whole, except maybe the Surrealists, were retinal. Abstract expressionism was very retinal, and of course, Op art is very retinal. A little too retinal for one’s taste.’.
Lluís Lleó talks about how, for his recent installation on Park Avenue, New York, he was inspired to use stones from Europe that referred to the history of murals and fresco painting as a way of re-establishing a relationship between old and new worlds.
Among Expo 2017’s vast complex of pavilions stands Andrew Rogers’ I AM–ENERGY. A sculptural feat of engineering, it spirals triumphantly upwards to more than 10 metres, confronting visitors like a graceful ballerina en pointe.
Filled with dark eroticism and witty visual puns, Dreamers Awake is a sprawling survey that explores the influence of surrealism through works by women artists from the 1920s on.
Gender inequality was one of many human rights issues that artists wrestled with at the 57th Venice Biennale, with one of the most powerful statements coming from the Irish pavilion, in the Arsenale. Here, artist and film-maker Jesse Jones has constructed a huge theatrical evocation of her own creation myth, that of the giantess.
A new show at the Whitworth Manchester combines Raqib Shaw’s paintings and sculptures with prints, textiles and objects that reveal an intense dialogue between the ages and across continents.
These drawings from the forgotten sketchbooks of the well-known feminist artist Ida Applebroog offer an intimate insight into her struggle with depression during a six-week stay at Mercy Hospital in 1969.
Running parallel to Münster’s Skulptur Projekte, notions of private and public are unsettled in this playful post-minimal exhibition of new works by American artist Tom Burr.
This inspiring retrospective at the Whitney captures the sensuous resonance of Brazilian artist Hélio Oiticica’s work, allowing visitors to immerse themselves in the life-affirming spirit of his oeuvre.
Harold Cohen, who developed Aaron, one of the first and most complex software programs for computer-generated art, died last year at the age of 87. We look back at his achievements.
For her first solo exhibition in Scotland, the renowned British artist Clare Woods presents 11 striking new paintings.
UK artist Stephen Chambers talks about looking for the extraordinary within the ordinary, about the appeal of fictional kingdoms, the relationship between art and literature, and being led by his instincts to do what he ‘can’t help doing’.
Expanding on her fascination with the world of nature and natural sciences, Laura Youngson Coll has produced an intricate series of work in vellum – mixing fact and fiction, beauty and abjection – responding to the loss of her partner to non-Hodgkin lymphoma.
This is an exhibition of tragedy, celebration and defiance at a time of change and violence in the US’s racial history. Soul of a Nation is powerful, moving and brimming with artistic heroes who, until now, have been largely overlooked and underappreciated.
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A portrait of a nation, of an era, and, at heart, of humanity, this dual exhibition of two key artists of the Weimar Republic – photographer August Sander and painter Otto Dix – gives a comprehensive overview of the sociopolitical climate and the people living through it.
The Russian photographer Evgenia Arbugaeva spins gold from the light of desolate places, finding beauty in some unlikely environments.
In No More Disguise, Afruz Amighi’s first show of drawings, the New York-based artist discusses the creative impulse she experienced following the 2016 US election, and the role of American history in her most personal work to date.
Returned to its traditional home in central Germany, Documenta 14 abounds with intelligent, well-curated art by an often obscure array of international practitioners. But does it live up to its valiant political aims?.
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