Monika Fabijanska – interview: ‘I wanted Women at War to explain a war that has been going on in Ukraine in silence for eight years’
Oksana Chepelyk. Лист з України / Letter from Ukraine, 2014. Film, HD (1920 x1080 px), colour, sound, 7:32 min. © Oksana Chepelyk. Courtesy of the artist.
The curator explains why, for her show at the Fridman Gallery in New York, she chose female artists to narrate the story of the war, and to widen the theme to draw in people with no prior interest in the region
Nick Merriman, director of London’s Horniman Museum, receives the Art Fund Museum of the Year Award 2022 at the Design Museum in London.
London’s Horniman Museum has just been awarded one of the art world’s biggest prizes. Nick Merriman, the museum’s director, says its winning formula involves a passion for the environment and a determination to reach a more diverse audience.
Lubna Chowdhary talking to Hettie Judah about the themes that underpin her work, London, July 2022. Photo: Martin Kennedy.
With swooping forms and blazing colour, Chowdhary explores the grey areas between east and west, sculpture and architecture, and the functional and the decorative. She talks here about the themes that underpin her work.
Ai Weiwei: Yours Truly. Photo: Midas PR.
Premiered at the Glastonbury Festival, Ai Weiwei: Yours Truly is a moving and powerful documentary about the horror of political imprisonment, offering insights into the artist’s own struggles and those faced by freedom fighters across the world.
National Museum of Oslo. Photo: Iwan Baan.
Oslo’s new National Museum opened in June, its 6,500 objects arranged to tell a refreshingly inclusive and post-colonial story of the evolution of art, design and craft. How does the new museography of this, Scandinavia’s largest art museum, and its architecture, measure up?.
Julian Perry, Sea View Caravans, 2009. Oil on panel, 46 x 34.5 cm. Copyright and courtesy the artist.
From Thomas Gainsborough and John Constable to Richard Long and Yinka Shonibare, what unites these artists and their works across the centuries is a shared concern with the relationship between our planet and its inhabitants.
Céline Condorelli. Image courtesy the artist.
The architecturally trained artist talks about her new show at Edinburgh’s Talbot Rice Gallery, and looking at the constructed nature of labour and leisure, as well as value.
Milton Avery, Husband and Wife, 1945 (detail). Oil on canvas, 85.7 x 111.8 cm. Wadsworth Atheneum Museum of Art, Hartford, Connecticut. Gift of Mr and Mrs Roy R. Neuberger. Photo: Allen Phillips / Wadsworth Atheneum. © 2022 Milton Avery Trust / Artists Rights Society (ARS), New York and DACS, London 2022.
In the first comprehensive exhibition of Avery in Europe, the RA brings together more than 70 works from the 1910s to the 1960s, showing how he influenced artists such as Mark Rothko and Barnett Newman – and, in turn, learned from them.
Vivian Maier, New York, December 2, 1954. © Estate of Vivian Maier, Courtesy of Maloof Collection and Howard Greenberg Gallery, NY
An amateur photographer who, while working as a nanny, captured the streets and people of Chicago from the 1950s and 1960s like no other, is seen here in her first solo UK show at MK Gallery.
David Batchelor, Concreto 5.0/01, 2012. Courtesy © the artist and Compton Verney.
A long overdue survey covering 40 years of work from an artist long interested in the complexities of colour and its place in the urban environment.
Antonio Calderara. Senza Titolo, 1958. Oil on wood, 23.5 x 30 cm (9 1/4 x 11 3/4 in). © Estate of Antonio Calderara. Courtesy Lisson Gallery.
This show follows the postwar Italian artist’s path as he journeys from figuration to abstraction, with his wife, young daughter and local scenery providing the subject matter for much of his work.
Dineo Seshee Bopape and Katy’taya Catitu Tayassu, motsopa: sonore (Clay and sound), 2021-2022 (detail). Installation view, Back to Earth exhibition at Serpentine North, 22 June – 18 September 2022. Photo: Veronica Simpson.
The Serpentine’s Back to Earth programme asked artists to consider how art can respond to the climate emergency. This exhibition is a tribute to their many and varied responses.
Emma Talbot, The Age/L’Età, Max Mara Art Prize for Women. Installation view, Whitechapel Gallery, London, 2022. © Damian Griffiths.
Talbot’s winning commission for the Max Mara Prize takes as its jumping-off point Gustav Klimt’s The Three Ages of Woman, setting up questions around age, feminism and climate that the viewer is left to answer.
Mahmoud Khaled, 2022. Photo: Andy Stagg.
As he exhibits two large-scale works in London, the Egyptian artist talks about creating museums, heteronormative male privilege – and Hugh Hefner’s bed.
Tianzhuo Chen. Trance, 2019. Two single-channel videos with sound (continuous loop), 5 min, 1 sec; 2 min, 51 sec. Image courtesy of the artist, BANK / MABSOCIETY, and Asia Society Museum, New York.
The writer and curator talks about the impact of the enormous social, economic, and political changes in China on the post-Cultural Revolution generation of artists, including the seven she features in her new show at the Asia Society      .
The Real and the Romantic: English Art Between Two World Wars, by Frances Spalding, published in the UK by Thames and Hudson; Eric Ravilious, Train Journey, 1939. Watercolour. Aberdeen Art Gallery and Museums. Photo: History and Art Collection/Alamy Stock Photo. The Real and the Romantic: English Art Between Two World Wars, page 86.
Art historian and biographer Frances Spalding leads us through a complex period in the development of artistic practice in England.
Documenta 15: OFF-Biennale Budapest, Małgorzata Mirga-Tas, from the series Out of Egypt, 2021, installation view, Fridericianum, Kassel, 11 June 2022. Photo: Frank Sperling.
The latest edition of the venerable festival imagines art as a collaborative endeavour that transcends individual artworks and artists. It’s sprawling, unconventional and at times unmanageable, but delivers a shot in the arm.
Yuki Kihara talking to Studio International about Paradise Camp at the New Zealand Pavilion, Venice, 2022. Photo: Martin Kennedy.
The artist, who is of mixed Japanese and Samoan heritage, talks about showcasing queer rights and revealing the toxic influence of colonialism in her works.
Elsa von Freytag-Loringhoven (c1921-22). George Grantham Bain Collection, Library of Congress Prints & Photographs Division, LC 5677-2. From digital scan of photograph.
Baroness Elsa von Freytag-Loringhoven was once described as an artist who ‘dresses dada, loves dada, lives dada’. Here, 12 artists respond to her life, artwork – including one of the first readymades in art history – and extraordinary poems.
Daniel Silver in the studio. Photo: Sølve Sundsbø.
Prepare to look and to be looked at, as Silver’s dynamic sculptures and works on paper use different conceptual strategies to engender varied emotional responses.
Future Library. Karl Ove Knausgård hands his manuscript to Katie Paterson, Nordmarka forest, Oslo, Norway. Photo: Kristin von Hirsch.
Future Library is artist Katie Paterson’s prayer that trees, literature and the human imagination will survive into the next century. She talks about the work and the opening of the Silent Room in an Oslo library in which a literary manuscript will be placed each year for 100 years.
Tanoa Sasraku. Terratype soaked in the Sligichan river. Video still, 2022. Image courtesy the artist.
In her works on paper, photographs and bronzes, the young British Ghanaian artist conjures up memories, mythologies and the landscape of rural Britain in this captivating yet perplexingly cryptic show.
Frank Brangwyn, Founding of Tonbridge School. Oil on canvas. Banqueting Hall of the Worshipful Company of the Skinners, London. Photo: Worshipful Company of the Skinners.
The 2.5-metre-high murals overpower the confines of this small village museum. But it is a rare opportunity to see them up close and to learn about the artistic community in which Brangwyn lived.
Edvard Munch. Self-Portrait in the Clinic, 1909. Oil on canvas, 100.7 x 111 cm. KODE Bergen Art Museum, The Rasmus Meyer Collection.
This feels like a patchy presentation and, despite the promise of ‘masterpieces’, the selection veers more towards Munch’s experimental works.
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