Fighting History, an exhibition examining 250 years of history painting, has received a torrent of abuse from the British press. It has been accused of being “feeble,” “terribly presented” and “frustrating.” Surely, it can’t be that bad?
Tate Britain, London, until 13 September 2015.
In his latest major exhibition, Carsten Höller’s playful artwork turns the Hayward Gallery into a theme park, with the use of installations, kinetic sculptures, videos and light.
Hayward Gallery, London, until 6 September 2015.
Richard Tuttle’s third solo exhibition with Modern Art shows four new bodies of work that continue his exploration of the properties of humble, everyday materials such as paper, cloth, wood and wire.
Modern Art, London, until 27 June 2015.
The artist talks about his current exhibition at the Alan Cristea Gallery, playing with the way we interact, see and deal emotionally with the world through vision, light and the brain – and making rude drawings of his tutors as a student.
Chloe Dewe Mathews’s Tate commission, Congregation, looks at south London’s African churches, capturing the community in the physical and emotional act of worship. She talks about what motivated her to video the congregations and why the new Bosse & Baum Gallery was such a perfect venue.
This major retrospective spans Martin’s career from the early 50s to the last drawing made before her death, and confirms her as one of the foremost painters of the 20th century.
Tate Modern, London, until 11 October 2015.
As well as some of his best-known works of embroidery and ballpoint-pen drawings, this exhibition includes fascinating archival material, including postcards, photographs and letters that shed light on the artist’s life.
Mazzoleni, London, until 31 July 2015.
Three recent series of works from the New York artist, using her trademark method of tessellating two pictures together, draw the viewer into a carefully choreographed network of associations.
Hauser & Wirth, London, until 25 July 2015.
The artist talks about her latest exhibition, The English Garden, explains why it is a lot harder to make a small painting than a big one, why the surface of a painting is so important for her, and how she uses other artists as her source.
Maccarone, New York, until 20 June 2015.
This exhibition explores the genre of the self-portrait, looking at the ways in which more than 50 artists from the 1400s onwards have sought to visualise the self.
Christie’s Mayfair, London, until 5 September 2015.