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Art critic Clement Greenberg coined the term ‘post-painterly abstraction’ to describe the work of the five artists in this exhibition – Morris Louis, Ed Clark, Sam Gilliam, Frank Bowling and Kenneth Noland – yet, until recently, many of them haven’t received the recognition they deserve
Yayoi Kusama Museum, Bentencho, Shinjuku-ku. Exterior view, ground level. © Yayoi Kusama.
Japanese artist Yayoi Kusama, famous for her polka dots and pumpkins, opened her own museum in Tokyo in October, where she can permanently show her works and promote her message of world peace and love for humanity.
William Kentridge, Ursonate, 2017. St Thomas the Apostle Church, Harlem, New York. Courtesy of Performa. Photograph © Paula Court.
William Kentridge talks about his recent performance of Kurt Schwitters’ sound poem Ursonate, dadaists and interpreting the world.
Veronica Ryan at Yorkshire Sculpture Park. Photograph: Axisweb.
The artist talks about her continuing connection with the sculptures of Barbara Hepworth, and how her interest in psychological trauma, and her own family history, has shaped her art.
Gianfranco Baruchello. Déserteur da la Légion (Deserter from the Legion), 1974. Mixed media, wood, glass, 50 x 70 x 16 cm. Courtesy Fondazione Baruchello, Rome.
Raven Row reopened with a major survey of Gianfranco Baruchello, a rambunctious and polymathic master of contemporary Italian art.
Antony Gormley. LAND SEA AND AIR II, 1982.Lead and fibreglass.  Land (crouching), 45 x 103 x 50 cm; Sea (standing), 191 x 50 x 32 cm; Air (kneeling), 118 x 69 x 52 cm. © the artist.
The artist talks about collaborating on a major new book about his career, the evolution of his work, and the impact of childhood on his practice.
Pamela Schilderman at work.
What makes a portrait? What defines a person’s identity? These are questions at the core of Schilderman’s practice, and are questions she hopes to make her audience ask as well.
George the Cunt and Gilbert the Shit, Magazine Sculpture, 1969. © Gilbert & George.
To coincide with the 50th anniversary of the artists’ meeting, we publish Gilbert & George’s Magazine Sculpture, first displayed in a black-and-white, censored version in Studio International’s May 1970 edition.
Ruth Asawa (American, 1926‒2013). Untitled (S.540, Hanging, Seven-Lobed, Interlocking Continuous Form within a Form), c1958. Brass and copper wire. The Shidler Family Collection. Artwork © Estate of Ruth Asawa.
This exhibition considers abstract expressionism through its Asian-American practitioners, with a focus on Hawaii’s artists, as it brings them together with their US counterparts, such as Willem de Kooning, Mark Rothko and Jackson Pollock.
Maison Démontable, BCC, 1941. Inside La Grande Halle.
The French architect Jean Prouvé was a radical modernist whose graceful prefab buildings used cutting-edge techniques to further his socially progressive ideals. In an era of housing shortages and mass migration, his work is powerfully relevant – as this extraordinary exhibition demonstrates.
Ilya Kabakov. The Man Who Flew Into Space From His Apartment, 1985. Six poster panels with collage. Centre Georges Pompidou, Paris. © Ilya & Emilia Kabakov.
This first large-scale British retrospective of work by the US-based Russian installation artists Ilya Kabakov and his wife, Emilia, is powerful, vividly varied and thought-provoking.
Modigliani in his studio, photograph by Paul Guillaume, c1915. © RMN-Grand Palais (musée de l’Orangerie) I Archives Alain Bouret, image Dominique Couto.
This extraordinary retrospective unites Modigliani’s portraits and sculpture with the largest collection of his nude paintings ever shown together in the UK, as well as allowing visitors a virtual reality tour of the artist’s Paris studio.
Carmen Herrera. Pavanne, 1967/2017. 274.3 x 274.3 x 182.9 cm (108 x 108 x 72 in). © Carmen Herrera; Courtesy Lisson Gallery.
Herrera’s abstract, geometric paintings pulse with life in this solo show. She was discovered late – she sold her first painting in 2004, at the age of 89 – and her work has a concentrated intensity that speaks of many decades of quiet, unsung dedication.
Calum Colvin. Studio installation.
The president of the Royal Scottish Academy discusses Ages of Wonder: Scotland’s Art 1540 to Now, an ambitious and exciting exhibition that was more than three years in the making.
Zoe Buckman. Champ, 2016. Neon, glass, leather, 30 x 18 x 10 in. Courtesy the artist and 21c Museum.
The London-born, New York-based artist known for incorporating highly personal motifs, such as embroidered underwear, in her work, discusses feminism and the role women play within her art.
Vanessa Baird with Grand Hotel mural, Oslo. Photograph: Veronica Simpson.
Vanessa Baird’s vivid, illustrative pastels depicting domestic chaos and drowning refugees make for an immersive experience in her new solo show, You Are Something Else, at Oslo’s Kunstnernes Hus. This and other new public commissions in Oslo indicate an artist coming into her prime.
Maria Alyokhina, a member of the activist art collective Pussy Riot, talks to Studio International about Art Riot at the Saatchi Gallery, London, 15 November 2017. Photograph: William Kennedy.
Political activist and Pussy Riot member Maria Alyokhina talks to Studio International at the Saatchi Gallery about fighting government propaganda and the support the group receives from fellow artists.
Dan Colen, Sweet Liberty Gallery 2. Photograph: Prudence Cumings Associates. Copyright by Dan Colen and Victor Mara Ltd.
From glass whoopee cushions to a vast US flag to cartoon characters, Colen’s works, which use everything from chewing gum to cigarette butts and plastic bottles, are ambitious in scale, colourful, bombastic and highly varied.
Stan Douglas. Mare Street, 2017 (detail). C-print on dibond, print size 180 x 300 cm. © Stan Douglas. Courtesy the artist and Victoria Miro, London.
Photographer and film artist Stan Douglas talks about his new works, which extend his interest in historical moments of rupture to the 2011 London riots.
Alina Szapocznikow with her work Naga (Naked), 1961. © ADAGP, Paris 2017 Courtesy of the Alina Szapocznikow Archive, Piotr Stanislawski and the National Museum in Krakow. Photograph: Marek Holzman, courtesy of the Museum of Modern Art, Warsaw.
A superlative exhibition at the Hepworth Wakefield unpacks the fleshly and sticky oeuvre of forgotten postwar great Alina Szapocznikow.
Paula Rego. Self Portrait III, 2007. Pastel on paper. Marlborough Fine Art, London.
Consummate storyteller Paula Rego brings her cast of mermaids and misfits to a town that seems forged from her own imagination.
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