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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
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.
Marguerite Humeau, Echoes, 2018. Installation view. Photograph: © Tate, Joe Humphrys.
French-born artist Marguerite Humeau resurrects an eerie voice from the ancient past at Tate Britain. And she adds in some exotic fluids for good measure.
Miguel Chevalier. Origin of the World Bubble 2018. Installation view, Oxford Circus, Lumiere London 2018. Photograph: Martin Kennedy.
Featuring works by 50 artists and digital / lighting studios and producers, this feast of light and sound turned London into a spectacular, highly photogenic, pulsing theme park. But in its efforts to maximise entertainment, it fell short on actual artistry.
Giovanni Anselmo. Invisible, 1971. Slide (projector); dimensions variable. Holenia Purchase Fund, in memory of Joseph H. Hirshhorn, 2003. Courtesy Hirshhorn Museum and Sculpture Garden. Photograph: Lee Stalsworth.
This exhibition brings together more than 70 works from the Hirshhorn’s collection in an attempt to explore how artists attempt to show what absence looks like.
Philip Pearlstein. Model with Speedboat and Kiddie Car Harness Racer, 2010. Oil on canvas, 72 x 48 in (182.88 x 121.92 cm). © the artist.
Philip Pearlstein’s nudes are a triumph of draughtsmanship and the product of a lifetime of learning and graft. And although he strives for images devoid of stories, this skill betrays a more enigmatic world.
Madrid collective Boa Mistura, best known for brightly coloured giant murals that billboard entire buildings in painted images and text.
This biennale is determined to take account of residents, focusing on micro-housing and smaller residential complexes and involving community as much as architecture.
Sriwhana Spong, a hook but no fish, 2017.  16mm transferred to HD and HD video, 24'50. Courtesy the artist, Michael Lett, Pump House Gallery.
Spong explores the invented language of Hildegard von Bingen, a 12th-century mystic. Over the Pump House Gallery’s four storeys, boundaries of sense are undone and remade – drawing the viewer into a history that cuts through the present.
Glenn Ligon. One Black Day, 2012. Neon, 5 x 24½ in (12.7 x 62.2 cm). © Glenn Ligon; Courtesy of the artist, Luhring Augustine, New York, Regen Projects, Los Angeles, and Thomas Dane Gallery, London.
A museum committed to the art of the American South presents an exhibition that highlights the contributions of postwar and contemporary African-American artists in order to assert their place within mainstream modernist narratives.
Iggy Pop life class by Jeremy Deller. New York, February 21, 2016. Organised by the Brooklyn Museum: Photograph: Elena Olivo. © Brooklyn Museum.
This exhibition sets out to explore the significance of life drawing and the life class in art practice, but the real joy of drawing is largely overlooked.
Anthony van Dyck. Charles I, 1635-6. Oil on canvas, 84.4 x 99.4 cm. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.
The Royal Academy celebrates its 250th year with a collection of riches fit for a king – and every room is packed with drama.
Sadie Lee. Self Portrait, 2018. Oil on canvas, 121 x 91 cm. © the artist.
Curator Anna McNay has put together two exhibitions – Threesome, a collaboration between three female painters, and 3X3, photographic self-portraits by nine queer female artists – which explore the female gaze with the aim of ‘making people question how they feel looking at these works and how it makes them look at themselves’.
Paul Cézanne. The Artist's Son, 1881-2. Musée de l'Orangerie, Paris. Photograph © RMN-Grand Palais (Musée de l'Orangerie) / Franck Raux.
A deep humanity surfaces in this outstanding exhibition of more than 50 of Cézanne’s portraits.
Edmund Clarke talking to Studio International about his recent residency at the UK’s only wholly therapeutic prison, HMP Grendon. Photograph: Martin Kennedy.
Edmund Clark discusses his recent residency at the UK’s only wholly therapeutic prison, HMP Grendon; his time spent on Bagram Airfield in Afghanistan; and how intervention and censorship have become a part of his work.
Anne de Boer & ecksenis.net. System Attempt Contact. Photograph: Banner Repeater, 2017.
System Attempt Contact critiques the way today’s tech multinationals transcend the borders between global and local, city and suburb, on- and offline.
Torbjørn Rødland. Wordless No. 03, 2010, Courtesy the artist and Nils Staerk Gallery.
Secrets lurk in Rødland’s photographs, but in chasing the thrill of the secret, his images fall short of the desired effect.
Bharti Kher. The skin speaks a language not its own, 2006. Bindis on fibreglass, 300 x 173 x 116 cm. Courtesy the artist. Photograph: Pablo Bartholomew.
Kher talks about the difficulty of being identified as an ‘Indian’ artist, being a procrastinator, and making material things do things they don’t want to.
Peter Doig, Red Man (Sings Calypso), 2017. Oil on linen, 295 x 195 cm. Courtesy Michael Werner Gallery New York and London.
The Scottish painter’s latest works are as beautiful as ever, but exhibit a newfound looseness, playfulness and sense of violence.
Latif Al Ani. US couple in Ctesiphon, 1965. B+W digital print on Hahnemühle Baryta Fine Art paper, 25 x 25 cm. © The artist and the Arab Image Foundation, Courtesy the Ruya Foundation.
The Iraqi photographer considers his photographic preservation of a long-vanished Iraq, his preoccupation with beauty, and the desire to share his country’s pain with viewers.
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