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The collaborative duo talk about their film UK Gay Bar Directory, which is showing at the Walker Art Gallery in Liverpool as part of its exhibition Coming Out: Sexuality, Gender and Identity
Director and CEO Julián Zugazagoitia. Photograph: John Lamberton. Courtesy The Nelson-Atkins Museum of Art.
Since 2010, when Zugazagoitia joined the Nelson-Atkins Museum of Art, visitor numbers have soared. Now, having received a gift that has almost doubled the size of the museum’s former collection of impressionist and post-impressionist paintings, and a major renovation, he is keen to entice yet more people to view its treasures.
Hans Hansen. Untitled (Plant models), 2007. © Hans Hansen.
This survey of six decades of the work of German photographer Hans Hansen, perhaps best known for his photographs of a dismantled Volkswagen Beetle and later a Golf, revels in his eye for surface texture, purity of form and iconographic composition.
Hélio Oiticica (1937–1980), installation view of Eden (1969) at Whitechapel Gallery, London, 1969. Sand, crushed bricks, dry leaves, water, cushions, foam flakes, books, magazines, Dzpulp fiction, dz straw, matting, and incense, 68 ft. 10 3/4 in. ×  49 ft. 2 1/2 in. ×  11 ft. 5 3/4 in. (21 ×  15 ×  3.5 m). Collection of César and Claudio Oiticica. © César and Claudio Oiticica.
This inspiring retrospective at the Whitney captures the sensuous resonance of Brazilian artist Hélio Oiticica’s work, allowing visitors to immerse themselves in the life-affirming spirit of his oeuvre.
Harold Cohen’s Drawing Machine in 1979. Courtesy Harold Cohen’s archive.
Harold Cohen, who developed Aaron, one of the first and most complex software programs for computer-generated art, died last year at the age of 87. We look back at his achievements.
Clare Woods. Comfort Monitor, 2016. Oil on aluminium, 3m x 2m (118 x 78in). Courtesy the artist and Simon Lee Gallery London & Hong Kong.
For her first solo exhibition in Scotland, the renowned British artist Clare Woods presents 11 striking new paintings.
Stephen Chambers talking to Studio International at the opening of The Court of Redonda, Venice, 2017. Photograph: Martin Kennedy.
UK artist Stephen Chambers talks about looking for the extraordinary within the ordinary, about the appeal of fictional kingdoms, the relationship between art and literature, and being led by his instincts to do what he ‘can’t help doing’.
Laura Youngson Coll. © Hydar Dewachi.
Expanding on her fascination with the world of nature and natural sciences, Laura Youngson Coll has produced an intricate series of work in vellum – mixing fact and fiction, beauty and abjection – responding to the loss of her partner to non-Hodgkin lymphoma.
Benny Andrews. Did the Bear Sit Under a Tree?, 1969. Oil on canvas with painted fabric collage and zipper, 127 x 156.8 x 5.7 cm. Emanuel Collection. © Estate of Benny Andrews /DACS, London IVAGA, NY 2017.
This is an exhibition of tragedy, celebration and defiance at a time of change and violence in the US’s racial history. Soul of a Nation is powerful, moving and brimming with artistic heroes who, until now, have been largely overlooked and underappreciated.
Otto Dix. Reclining Woman on a Leopard Skin, 1927. (Liegende auf Leopardenfell), 1927. Oil paint on panel, 68 x 98 cm. © DACS 2017. Collection of the Herbert F. Johnson Museum of Art, Cornell University.
A portrait of a nation, of an era, and, at heart, of humanity, this dual exhibition of two key artists of the Weimar Republic – photographer August Sander and painter Otto Dix – gives a comprehensive overview of the sociopolitical climate and the people living through it.
Evgenia Arbugaeva. Photograph: Theodora Richter.
The Russian photographer Evgenia Arbugaeva spins gold from the light of desolate places, finding beauty in some unlikely environments.
Simon Patterson talking to Studio International at De La Warr Pavilion, 18 July 2017. Photograph: Martin Kennedy.
Simon Patterson talks about his show Safari: An Exhibition as Expedition, at the De La Warr Pavilion in Bexhill-on-Sea, and about the concepts that inform his work.
Henri Matisse. Safrano Roses at the Window, 1925. Oil on canvas, 80 x 65 cm. Private collection. Photograph © Private collection. © Succession H. Matisse/DACS 2017.
This exhibition tells the story of Matisse’s collecting habits, but fails to conjure up the joy of discovery.
Guy Yanai. Los Angeles, 2017. Oil on linen, 150 x 180 cm.
The Israeli artist Guy Yanai explains the stories behind the bold, colourful oil paintings in Speak, America, his solo exhibition in New York, and talks about being influenced by Vladimir Nabokov, David Hockney and Matisse.
Hanne Darboven. In-House Letter to Mother at Burgberg, 24.12.1974. Copyright: Hanne Darboven Foundation. Courtesy Christians Verlag, Hamburg.
An exhibition in Berlin uses a collection of correspondence to place the great German conceptualist Hanne Darboven in context.
Bill Viola. Chott el-Djerid (A Portrait in Light and Heat), 1979. Videotape, colour, mono sound, 28 minutes. Produced at WNET/Thirteen Television Laboratory, New York.
Bill Viola’s strength is in using the video camera to get under the viewer’s skin, peeling away what we think we know about reality. But now, it seems, he has been seduced by the technology of the medium, to the detriment of his explorations of pure experience.
Marlie Mul: This exhibition is cancelled, gallery view, Glasgow Gallery of Modern Art 2017. Photograph: Max Slaven.
Until the end of October this year, there will be no exhibition in Gallery 1 of Glasgow’s Gallery of Modern Art. Here, Marlie Mul, the artist who was meant to be showing in the space from May onwards, explains why.
Vic in Oil Tank – North of Inverness, deep inside the Inchindown Oil Tank, searching for the worlds longest reverb.
The artist Vic McEwan talks about his project on the swan hoppers of the Murrumbidgee river in Australia, and working with Alder Hey children’s hospital in Liverpool to consider the negative effects of high sound levels in wards. He hopes, he says, to engage the human experience and develop contemporary art forms.
Maggie’s Centre for cancer care, Oldham. Photograph: Alex de Rijke.
An enchanting matchbox on stilts, with a garden below and a tree at its centre, there is poetry, symbolism and a real emotional intelligence here at dRMM’s new Maggie’s Centre for cancer care in Oldham.
Alexandra Dementieva. Photograph: Evgeny Gurko.
Don’t come to Alexandra Dementieva’s exhibition with the hope of being a passive spectator. As she explains, her aim is to draw the visitor in to her installations, to engage them in public performance.
Esther Rolinson: Gravitate.
The multimedia artist Esther Rolinson talks about her exhibition Gravitate at Watermans Art Centre, the allure of light and its qualities as an artistic material, the significance of collaborative work and the incessant movement of her art-making.
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