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All Too Human: Bacon, Freud and a Century of Painting Life

Tate Britain’s All Too Human explores family, sex and death, and offers a fantastic chance to explore what connects some of the biggest names of the past 100 years

Francis Bacon. Study for Portrait of Lucian Freud, 1964 (detail). The Lewis Collection. © The Estate of Francis Bacon. All rights reserved. DACS, London. Photograph: Prudence Cuming Associates Ltd.
Alge Julija Kavaliauskaite. Photograph: Finnish National Gallery, Petri Virtanen.
Kavaliauskaitė, originally from Latvia but now living in Finland, talks about art and alchemy, haunted mansions, her latest exhibition and why she was drawn to live in Nuutajärvi, a village famous for its glass-blowing.
Cybernetic Serendipity: the computer and the arts. Edited by Jasia Reichardt. Published by Studio International (special issue), 1968.
Catherine Mason considers the ICA’s groundbreaking computer art exhibition of 1968 and looks at how it has shaped digital art in the 50 years since.
David Milne. Red, 1914. Milne Family Collection. Photograph: Michael Cullen, Toronto Canada. © The Estate of David Milne.
An exhibition of work by the Canadian painter David Milne charts his progression from depictions of New York city scenes to the battlefields of France and Belgium back to the rural US and Canada, influenced on the way by European painters such as Cézanne, Matisse and Brâncuși.
Ardent Soffici. Watermelon and Liqueurs, 1914. Mixed media and collage on card, 64.6 x 54 cm. Courtesy: Pinacoteca di Brera, Milan.
Teeming with hidden treasures, this exhibition is a compact survey of key movements and artists in Italian modern art in the early 20th century, a febrile moment in the country’s artistic and political history.
Zhang Enli. The Broken Sofa, 2017. Oil on canvas, 220 x 180 cm (86 5/8 x 70 7/8 in). © Zhang Enli. Courtesy the Artist and Hauser & Wirth.
The artist known for focusing on the poetic aspects of daily life talks about new approaches to painting as seen in his current series of works, which draws on gardens situated in the bustling urban environment of Shanghai.
Leah Schrager. Infinity Selfie, SFSM (Safe for Social Media) IIII, 2016 © The Artist.
This exhibition looks at how social media platforms and the digital manipulation of images are being used to reflect on the ideals of female bodies.
Tarsila do Amaral. City (The Street), 1929. Oil on canvas, 31 7/8 × 21 1/4 in (81 × 54 cm). Collection of Bolsa de Arte. © Tarsila do Amaral Licenciamentos.
As revealed by this tightly curated exhibition at New York’s Museum of Modern Art, Tarsila do Amaral, the latest artist to ride the current wave of Brazilian modernism, turns out to have invented it.
Camille Claudel. Torse de Clotho (Torso of Clotho), c1893. Plaster, 44.5 × 25 × 14 cm. © RMN-Grand Palais (Musée d'Orsay). Photograph: Martin Kennedy.
Her legacy has often been dwarfed by her biography – as Rodin’s student and lover, who spent 30 years in a psychiatric institution. But with a new museum in her name, and 11 of her works saved for the French nation, Camille Claudel is coming out of the shadows.
Encountering the Buddha: Art and Practice Across Asia. Gallery view, Arthur M. Sackler Gallery at the Smithsonian Institution, Washington DC. Image courtesy of Freer | Sackler staff.
The curator talks about Encountering the Buddha: Art and Practice Across Asia, the current exhibition at the Arthur M Sackler Gallery at the Smithsonian Institution, which took three years to organise and brought together more than 200 objects spanning two millennia.
Simon Roberts. Battle of Britain Memorial Flight, Shoreham Air Show, West Sussex, 15 September 2007. Fujicolour crystal archive print. © the artist.
From the diamond jubilee to the ruins of Grenfell Tower, Simon Roberts captures the events that have defined the British experience of the past decade.
Portrait of Anthony McCall at Hepworth Wakefield. Photograph: Guzelian.
The pioneer of immersive, sculptural light installations explains his process and procedures, interests in performance, film and architecture, and his new exhibition at the Hepworth Wakefield.
Claudia Wieser: Chapter. Installation view. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Claudia Wieser. Photograph: Jens Wiehe.
Ahead of the opening of her current show at the Marianne Boesky Gallery in New York, Berlin-based artist Claudia Wieser discusses her references from 1970s TV to Greek plays, and the danger of making work that is too beautiful.
Creativity and Collaboration: Revisiting Cybernetic Serendipity symposium at the National Academy of Sciences Sackler Colloquium, Washington D.C., 2018.
Events planned around the Creativity and Collaboration: Revisiting Cybernetic Serendipity symposium at the National Academy of Sciences Sackler Colloquium, Washington D.C.
Thinking Machines Corporation, Waltham, Massachusetts. Danny Hillis, Tamiko Thiel, Gordon Bruce, Allen Hawthorne, and Ted Bilodeau. CM-2 Supercomputer. 1987. Steel, plexiglass, and electronics. The Museum of Modern Art, New York. Gift of Midori Kono Thiel, Mary Austin in honor of Tamiko Thiel, The Aaron and Betty Lee Stern Foundation, and anonymous. Photograph: Stephen F. Grohe.
The exhibition is a must-see for anyone interested in the early history of computer technology and its connection to art and design.
Portrait of Yto Barrada. © Benoît Peverelli.
Yto Barrada discusses her new exhibition at the Barbican Centre, which draws on a calamitous earthquake and the remarkable text it prompted.
Maija Luutonen. Photograph: Finnish National Gallery / Petri Virtane.
Maija Luutonen is the inaugural recipient of the Kiasma Commission by Kordelin, a project to promote contemporary Finnish art. Here, she discusses her exhibition at Helsinki’s Kiasma Museum of Contemporary Art, community-building, monuments and painting on paper.
Glenn Brown. Come to Dust, 2017. Oil on panel, 115 x 71 cm. © Glenn Brown. Courtesy of the artist and Gagosian. Photograph: Lucy Dawkins.
In a hulking presentation at Gagosian, the painter laureate of putrefaction continues to moulder old masterpieces into pestilent husks. To what end remains elusive.
Michael Armitage. Conjestina, 2017. © Michael Armitage. Photograph © White Cube (Ben Westoby). Courtesy of the Artist and White Cube.
The artist weaves multiple narratives to evoke the complexity of East African society. Here, he talks about his exhibition The Chapel, at the South London Gallery, and how it gave him the chance to think about religion, spirituality and politics in a new way.
Andreas Gursky. Kodak, 1995. Inkjet-Print, 91.7 x 107.5 x 4.2 cm. © Andreas Gursky/DACS, 2017. Courtesy: Sprüth Magers.
This first major UK retrospective of German photographer Andreas Gursky, at the newly renovated Hayward Gallery, is a must-see visual feast of epic proportions.
Jason Brooks talking to Studio International at his Gloucestershire studio, January 2018. Photograph: Martin Kennedy.
Ahead of his exhibition at Marlborough, London, Jason Brooks showed Studio International around his Gloucestershire studio, revealing some of his inspirations and motivations.
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