Celebrating 60 years of Hockney’s work, this exhibition charts the art of a modern great through decades of change.
The German-born artist explains why she first studied biology rather than art, how her scientific background informs her work, her love of the Great Barrier Reef, and why she is moving away from painting painstaking details of imaginary species.
This exhibition of Russian art from the 1920s and 30s, based on MoMA’s own collection, is a heartening celebration of a period of remarkable creativity and development.
Oldfield Ford spends a lot of time walking through the capital’s streets and, from the fanzine she began in 2005 to her current exhibition, Alpha/Isis/Eden, her work is all about change, the rich pushing out the poor. The artist’s job, she says, is to make places uninhabitable for property developers.
As he continues his late-career conversation with art history, the archetypical Californian conceptualist’s seemingly simple works open up a mire of ambiguity.
Seeking ancestry in a controversial and pornographic 19th-century French novel, this queer, transfeminine artist questions the problematic of rehabilitating a historical work of fiction from a contemporary standpoint.
The Zabludowicz Collection sets the stage for a shrewd reflection on the real versus the created self in the modern age.
The video-maker talks about working with communities, his current work, We Have Rather Been Invaded, about section 28, which prohibited schools from promoting homosexuality – and the difference between being a parasite and a Trojan horse.
To mark the 25th anniversary of Carter’s death, this exhibition brings together works that influenced the writer and works inspired by her, creating a visceral, violent and, at times, unpalatable celebration of magic realism and fairyland pornography.
This is an exhibition focusing on intimacy, which conjures just that in its thorough, yet tender, exploration of the people, objects and places close to the artist’s heart.
While Vanessa Bell stands strong as an artist in her own right, her art can nevertheless not be separated from her life at the centre of the Bloomsbury Group.
In her first solo UK exhibition, French-Moroccan artist Bouchra Khalili explores the fraught concepts of freedom, nationhood and displacement using film, video and silk-screen prints.
Three exhibitions of conceptual art in Germany shed some light on the elusive genre. Taryn Simon’s Dresden show is an example of a type of contemporary conceptual art that relies on craft, material and concept, while two exhibitions in Berlin revisit early pioneers Hanne Darboven, Charlotte Posenenske and Ian Wilson.
The artist shows us round her immersive installation, exploring the fetishism of anthropological objects.
If there were a happiness index for exhibitions, then teamLab: Transcending Boundaries would score a solid 10 out of 10.
The writer, sculptor and performance artist talks about the power of crystals, witchcraft and using sci-fi as a tool to write queer time and imagine queer futures.
Surrounded by her neon memorials to women killed in Iran, Soleimani discusses the state-sanctioned misogyny and human rights abuses there, and how she is trying to make people in the west aware of what is going on.
The Dutch painter explains how her attitude to painting has changed and talks about her recent paintings, now on show at New York’s Petzel Gallery, which reveal a new focus on colour.
Known as a film-maker, Eisenstein also excelled at drawing. This exhibition presents a rare collection of his sexually explicit drawings that have never before been shown publicly.
For his current exhibition at Jack Shainman Gallery in New York, Titus Kaphar looks to historical portraiture, and imagery from the criminal justice system in his examination of how history is recorded.
The Japanese artist Yuko Mohri’s exhibition at White Rainbow is titled Moré Moré [Leaky], and follows recent exhibitions in Taiwan, Japan and the US. Winner of the 2015 Grand Prix Nissan Art Award, Mohri undertook two residencies in London in 2016, the first at the Victoria and Albert Museum and the second at Camden Arts Centre.
The artist talks about his commitment to art in public spaces, describes how the Gramsci Monument in New York evolved with the help of local people, and explains his belief in the ‘unshared authorship’ of art.
Unravelling some of the interwoven and incestuous tales relating to the 20th-century modernist protagonists in their rural Sussex settings, this exhibition is as compelling narratively as it is aesthetically and politically.
‘I’m just making the unknown real,’ says Wilson, about his new exhibition, Stealing Space at Annely Juda Fine Art in London.
The multi-disciplinary artist talks about her continuing fictional narrative The Crystal Frontier, her obsession with an all-female Kurdish militia fighting in Syria, and early-20th-century feminist fiction.
The painter’s pop-coloured vision of the English countryside belies a sad truth, but as Smith demonstrates, bitterness can be channelled into something meaningful.
Building on the legacy of feminist art from the 1970s, this exhibition includes photographic and video works by 17 contemporary artists from five continents, from the 80s to today, presenting woman as creator and subject of her work.
The originators of The Studio, from its inception, were keenly aware that the recently consummated marriage between the Fine Arts and the Crafts would be central to their own outlook. The formal rites and tussles of that marriage had much occupied and challenged the world of Art for the past decade both in England and America, and would continue to repercuss for many years to come.
The alchemical French artist’s first UK retrospective in two decades reaffirms the cosmic wonder of his oeuvre.
In April 1893 a new art magazine entitled The Studio appeared in British newsagents. Subtitled an Illustrated Magazine of Fine and Applied Art and costing sixpence, it rapidly established itself as one of the most enduring and successful art periodicals in the English-speaking world.