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Gerald Laing. Rain Check, 1965 (detail). The Collection of Lucy Lerner and Jane Lerner. © The Estate of Gerald Laing.
Presenting Roy Lichtenstein, Sigmar Polke and Gerald Laing in dialogue with each other within the context of their pop-inspired pointillism, Source and Stimulus is a vibrant study of the origin of the Ben-Day dot in fine art
Cary Leibowitz. Please Don't Tell Anyone You Saw Me, 2016. Latex paint on wood panel, 32 x 38 in. Courtesy of the artist and INVISIBLE-EXPORTS.
For his first major retrospective, the undersung American artist fills the ICA Philadelphia with more than 300 works that span a 30-year career. Leibowitz discusses how he established himself as an artist in the 1980s and 90s, and the origins of Candyass, his longstanding moniker.
Portrait of Anthony McCall at Hepworth Wakefield. Photograph: Guzelian.
The pioneer of immersive, sculptural light installations explains his process and procedures, interests in performance, film and architecture, and his new exhibition at the Hepworth Wakefield.
Claudia Wieser: Chapter. Installation view. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Claudia Wieser. Photograph: Jens Wiehe.
Ahead of the opening of her current show at the Marianne Boesky Gallery in New York, Berlin-based artist Claudia Wieser discusses her references from 1970s TV to Greek plays, and the danger of making work that is too beautiful.
Creativity and Collaboration: Revisiting Cybernetic Serendipity symposium at the National Academy of Sciences Sackler Colloquium, Washington D.C., 2018.
Events planned around the Creativity and Collaboration: Revisiting Cybernetic Serendipity symposium at the National Academy of Sciences Sackler Colloquium, Washington D.C.
Thinking Machines Corporation, Waltham, Massachusetts. Danny Hillis, Tamiko Thiel, Gordon Bruce, Allen Hawthorne, and Ted Bilodeau. CM-2 Supercomputer. 1987. Steel, plexiglass, and electronics. The Museum of Modern Art, New York. Gift of Midori Kono Thiel, Mary Austin in honor of Tamiko Thiel, The Aaron and Betty Lee Stern Foundation, and anonymous. Photograph: Stephen F. Grohe.
The exhibition is a must-see for anyone interested in the early history of computer technology and its connection to art and design.
Portrait of Yto Barrada. © Benoît Peverelli.
Yto Barrada discusses her new exhibition at the Barbican Centre, which draws on a calamitous earthquake and the remarkable text it prompted.
Maija Luutonen. Photograph: Finnish National Gallery / Petri Virtane.
Maija Luutonen is the inaugural recipient of the Kiasma Commission by Kordelin, a project to promote contemporary Finnish art. Here, she discusses her exhibition at Helsinki’s Kiasma Museum of Contemporary Art, community-building, monuments and painting on paper.
Glenn Brown. Come to Dust, 2017. Oil on panel, 115 x 71 cm. © Glenn Brown. Courtesy of the artist and Gagosian. Photograph: Lucy Dawkins.
In a hulking presentation at Gagosian, the painter laureate of putrefaction continues to moulder old masterpieces into pestilent husks. To what end remains elusive.
Michael Armitage. Conjestina, 2017. © Michael Armitage. Photograph © White Cube (Ben Westoby). Courtesy of the Artist and White Cube.
The artist weaves multiple narratives to evoke the complexity of East African society. Here, he talks about his exhibition The Chapel, at the South London Gallery, and how it gave him the chance to think about religion, spirituality and politics in a new way.
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.
Paula Rego. The Family, 1988. Acrylic paint on canvas backed paper, 213.4 x 213.4 cm. Marlborough International Fine Art. © Paula Rego.
Tate Britain’s All Too Human explores family, sex and death, and offers a fantastic chance to explore what connects some of the biggest names of the past 100 years.
Sam Stewart: Cryptic. Installation view, courtesy of the artist and Fort Gansevoort, New York. Photograph: Lauren Coleman.
For his first solo exhibition, artist-designer Sam Stewart transforms an unoccupied space within a New York townhouse by imagining the life of its mythical occupant.
Mark Bradford at the Hirshhorn Museum and Sculpture Garden with details of Pickett’s Charge, 2017. Courtesy of the artist and Hauser & Wirth. Photograph: Cathy Carver.
Hankins, senior curator at the Hirshhorn museum, explains how a collaboration with Mark Bradford led to the artist’s monumental cyclorama Pickett’s Charge, and why the subject, the 1883 Battle of Gettysburg, still resonates today in the US.
Andy Holden and Peter Holden. Natural Selection. Installation view, Towner Gallery, 2018. Photograph: Pete Jones.
Andy Holden talks about his relationship with his father, the ornithologist Peter Holden, nature verses nurture, and sentimentality in the animal kingdom.
Giorgio Griffa. Tre colori, 1998. Acrylic on canvas, 86 x 109 cm. Courtesy Archivio Giorgio Griffa and Casey Kaplan, New York.
With references to the Fibonacci sequence and the golden ratio, Griffa’s paintings are works to puzzle out and ponder.
Lydia Ourahmane. In the Absence of our Mothers, 2018. Commissioned and produced by Chisenhale Gallery, London. Photograph: Andy Keate.
Lydia Ourahmane talks about her exhibition at the Chisenhale Gallery, allegiance, betrayal, drawing on her Algerian family history for her work, and why she nearly dropped out of art school  .
Kettle's Yard, Cambridge. New entrance. Fobert Architects © Hufton+Crow.
Jamie Fobert Architects’ new wing for Kettle’s Yard in Cambridge opened this month, doubling the education space and bringing its facilities bang up to date. How harmonious is the marriage of this incisive 21st-century building with the Georgian and modernist originals?.
Andrew Lacon. Fragments, 2017. Installation view, Dundee Contemporary Arts. Photograph: Ruth Clark.
Two exhibitions at Dundee Contemporary Arts confront and explore the relationships between the viewer, the art itself and the gallery space, in playful and thought-provoking ways.
Peter Welz. Architectural Device for a Passage | Spacial Division, 2018. Steel and bolts, 260 x 645 x 350 cm. Installation view.
Weaving a path in and out of Peter Welz’s awkward steel architectural intervention, the viewer comes up close and personal, in an unsettling way, with Michaela Zimmer’s layered canvases. Scratch the surface and there is far more to be told than at first meets the eye.
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