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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The Haitian artist talks about coming to terms with his country’s turbulent history and some personal challenges, and why he doesn’t take the business of making art lightly.
Taken together, the portraits shown here, captured by the German photographer between 1910 and 1931, are a quiet revelation, a unique and emotive window into the collected lives of his countrymen and women in the interwar period.
A reader at the University of the Arts London, Cross talks about his struggle to persuade the university to cut ties with fossil fuel investments and his continuing efforts to bridge the gap between commerce and environmental ethics.
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Vasconcelos’s solo show offers a riot of colour and texture in this highly personal, curated sculpture park, celebrating the duality – the glamour and the grind, the dreams and the heartbreak – that typifies women’s lives, on a monumental scale.
Newly established gallery project Sion and Moore combines the creative experiences of its two founders with the craft of designer Michael Marriott, achieving an intriguing environment in which to view Nigel Shafran’s tantalising Work Books.
For the first time in its 200-year history, a mansion in Philadelphia is transformed into a major public art project by American artist Jane Irish. She talks about a career spent exploring anti-war activism.
This group exhibition, by the artists Rebecca Lennon, Sarah Duffy and Sophie Jung with curator Carolina Ongaro, is like a brimming basket of foraged goods, a container for ever-changing stories.
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.
James Edgar and Sam Walker talk about Assembly Point, their co-founded gallery, studio space and publishing company, which they set up in 2015 in south London.
![Sarah Morris. Big Ben [2012], for Art on the Underground, Gloucester Road station, London, 11 June 2012 – 1 September 2013. Photograph: Thierry Bal.](/image_home.php?image=images/articles/a/083-art-on-underground-2018/BigBen_SarahMorris_GloucesterRoad_2012_PhotoThierryBal.jpg)
Pinfield is Head of Art on the Underground, which has commissioned work by Cindy Sherman, David Shrigley and Assemble, among others. She talks about this year’s lineup of female artists and the desire to bring art to millions of travellers.
Brätsch is an artist who works in the afterlife of modern painting, upending its history and mythology with Rabelaisian glee – and her latest exhibition is no exception.
Five of Innes’ paintings form the inaugural exhibition for the Ingleby gallery’s new space, an austere building formerly used for worship that has been beautifully refurbished. Together, the art and architecture provide a fitting 20th-anniversary celebration for the gallery.
A colossal retrospective at the Louvre liberates the French romantic from his early history painting and reaffirms his lofty place in the pantheon.
The artist talks about unpicking the story of William Hogarth’s A Harlot’s Progress and using her latest opera to explore architectural form, power distribution and the ambivalence of feminism in a corporate climate.
On the opening of his exhibition at the Galerie Marian Goodman, the Italian artist recounts his ritualistic process, the elusiveness of colour and why paintings should be like churches.
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.
Across 11 portrait canvases and one enormous fabric hanging, Grosse’s complex, multilayered works appear as seemingly prehistoric scrawls, imbued with vital energy in a maelstrom of colours.
In his attempts to untether architecture from well-worn conventions, the Japanese architect liberates the architectural expedition from its own stolid norms.
The pioneer of computer-assisted art recounts her love affair with lines, the balancing of order and chaos, and preparing to be surprised.
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As her first permanent artwork, Quarry is unveiled at Jupiter Artland, outside Edinburgh, Barlow talks about its conception and creation, its location in the woods surrounding the house and gardens, and the ‘horrifying’ experience of ceding control to engineers and construction teams.
A microcosm of Chinese art and social change at Ipswich Art Gallery – this group show of works on paper by contemporary artists from China draws on, plays with and subverts the canons of art history from both the east and the west.
Describing herself as ‘an artist who works in textiles’ Pym talks about her recent surgery for mending at the V&A, why she mends old clothes and artefacts, and why she feels it is so important to see the damage and the repair.
Since founding his New York gallery in 2006, Fergus McCaffrey has been instrumental in introducing postwar Japanese art to a western audience. He talks about his deep attachment to Japanese art and craft and his hopes for his new gallery in the heart of Tokyo.
The Hayward Gallery’s group show suggests future survival will demand that humans adjust to changing circumstances rather than adapting the environment to maintain their current mode of living.
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