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Leah Schrager. Infinity Selfie, SFSM (Safe for Social Media) IIII, 2016 (detail). © The Artist.
This exhibition looks at how social media platforms and the digital manipulation of images are being used to reflect on the ideals of female bodies
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.
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.
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.
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.
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