In a bold juxtaposition with works by Paul Klee, the oil paintings, poems, carpets and tapestries of Etel Adnan reflect the qualities she shares with the painter who inspired her – an intense, visceral response to colour and a preoccupation with war, loss and displacement.
From individual buildings to large cityscapes, all the sculptures in this first US retrospective of Kingelez’s work exude his optimism and vibrancy. And, thanks to virtual reality, MoMA gives us the chance to walk the streets of one of his cities.
Deborah Najar’s carefully considered and sensitive choice of Highstein’s works is accompanied by short videos, photographs, archival material and correspondence between the artist and her father.
For the duration of the summer, visitors to the liquid city of Bruges are invited to ponder a more metaphorical interpretation of this notion of fluidity, thinking about how the city – and they themselves – might adapt in the light of the growing conviction that change is the only permanence.
A photographer of fierce resolve and compassion, Dorothea Lange knew how to capture the very essence of struggle.
The Korean artist’s London retrospective shines brightest when it is clear and direct.
Forensic Architecture has never designed a building. Instead, it acts as an architectural detective agency to expose human rights abuses. Samaneh Moafi, one of its project leaders, talks about art prizes, the innovative potential of multidisciplinary collaboration and the role of aesthetics in the organisation’s investigations.
Having just installed 10, mostly blown-glass pieces around Canterbury Cathedral for their exhibition Under an Equal Sky, Philip Baldwin and Monica Guggisberg talk about these new works and the resonance between their historic setting and their chosen issues of migration, diversity and community.
New York-based Sadie Laska, who is both a painter and a drummer, brings her improvisation skills into her wall-based works, using collage, small objects and brushed colour in flight. Each work embraces the tactility of materials and the motion of thoughts and actions in the process of making.
Surreal, witty and at times unsettling, Whitstable Biennale 2018 is full of surprises.
Gallery director Randall Harris explains how this double show came about, while Himmelstein talks about how she captures the movement and energy of the players and the excitement of fans in her soccerscapes and Sorgatz discusses his mesmerising dreamscapes.
A social experiment investigating themes of being offline, privacy, and silence in the city brings about surprising results in Bruge’s Saint Trudo almshouses as part of this year’s triennial.
Joana Vasconcelos has filled the Guggenheim Bilbao with work from the past 20 years. She talks about craft, the importance (or otherwise) of scale, and how she seeks to expose and explode the myths and realities around female experience.
There are some strong individual showings at the biennale, but its curatorial framework is a mystery and, despite its title and location outside a vastly expanding city on the edge of the Gobi desert, it shows nothing that is critical of China’s environmental policy, state censorship or treatment of workers.
Part of the collateral programme of this year’s Manifesta Biennial in Palermo is a career-spanning solo exhibition by the Czech-born, German artist. Here, Sieverding talks selfies, fascism and fake news.
This thoughtful and revealing survey of an artist the Guggenheim exhibited in 1955 with Giacometti’s first-ever museum show and the museum’s first large-scale sculpture show focuses on rarely seen works in plaster to illuminate the genius of a mastery laid out here as process.
The Romanian artist talks about his latest exhibition, examining the life and work of Iris Murdoch, and discusses the biomechanics of writing, necrophilia and the novelist’s teddy bear.
True Colours, curated by Damien Hirst for his Newport Street Gallery in London, shows works by Helen Beard, Sadie Laska and Boo Saville. We talked to the three artists about the works they have in the show.
Helen Beard’s striking and marvellously simplified, flat colour images, take you by surprise in a number of ways. The fresh colour forms pack a satisfying punch even before the viewer has undergone the gradual realisation that the paintings portray a varied range of sexual acts.
The artist talks about how living in Rome has changed her work, why she is so interested in bodily fluids, and the role that alcohol and desire play in her painting.
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Patrick Heron’s postwar abstraction places figure and ground on an equal footing and exploits the all-important edge between forms and colours to create intense expressions of musicality and emotion.
This retrospective of the artist, who died last year, shows the brilliance, courage and impeccable work ethic that made Lamm such an important figure in postwar Russian and American art.
Responding to the history of the city of Bruges, John Powers’ 15-metre-tall steel tower was constructed in situ for this year’s triennial and references long-neck swans and a medieval beheading.
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With its focus on the aerial image, At Altitude puts our terrestrial world into perspective with a broad range of works. It’s intriguing but, somehow, it misses the mark.
Gates hopes to challenge and confront the prevailing European narratives of racial and religious authority by reclaiming the power of print as a medium for black emancipation.
Best known as Millais’ Ophelia, Lizzie Siddal was a Pre-Raphaelite artist and poet in her own right. She died young, with no particularly established reputation, and this small exhibition is only the second entirely in her honour.
Grayson Perry’s eclectic, irreverent approach in coordinating the 250th-anniversary exhibition plays to its strengths. With the works of hundreds of amateur artists alongside those of professionals and the Royal Academicians, it is a far more insightful and accurate reflection of the issues, opinions and talents operating under the banner of ‘art’ in contemporary Britain.
Boo Saville’s fields of colour shimmer, each massive painting drawing you in and, once you are up close, their surfaces seem to conjure immersive spaces, as though the air has suddenly been coloured and there is space to fall in. Such a physical and emotional impact is reminiscent of Rothko’s Chapel in Houston, where his 14 black and coloured hue paintings cover the internal space.
A fresh look at the paintings of British émigré Thomas Cole reveals some eerily relevant messages for our current times.
The artist talks about her latest exhibition, What a slight, what a sound, what a universal shudder, at Dundee Arts Contemporary, and what has led her to engage so closely with Stein’s work.
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