Simone Leigh
Simone Leigh, Cupboard, 2022. Bronze and gold, 88 1/2 × 85 × 45 in (225 × 216 × 114.3 cm). Right: Sentinel IV, 2020. Bronze, 128 × 25 × 15 in (325 × 64 × 38 cm). Installation view, Simone Leigh, the Institute of Contemporary Art/Boston, 2023. Photo by Timothy Schenck.
Ceramic, bronze and video works spanning 20 years of Leigh’s practice, including nine works from last year’s Venice Biennale, give power to the strength, endurance and knowledge of Black women
Dante Gabriel Rossetti. Lady Lilith, 1866-68 (altered 1872-1873). Delaware Art Museum, Samuel and Mary R. Bancroft Memorial, 1935.
This exhibition is both broader and narrower than its title suggests. In a nutshell, it brings together undeniably beautiful – if, on reflection, a little disturbing – poetry and paintings about obsessive love.
Gil Joseph Wolman. Michèle Bernstein / Tautologie. (Séparation), c1986. Photograph and typewritten text.
This exhibition is a joy, combining leaflets, flyers and other ephemera from Debord and Wolman’s period of collaborative working and their Lettrist International project, as well as artworks that Wolman created after the two had parted ways.
Kate Spencer Stewart: Diurne, installation view, Emalin, London, 6 May - 17 June 2023. Photo: Stephen James.
Stewart takes into account the contingencies of ambient light, her works iridescent, shimmering between hues and moods depending on the moment, and on where you stand.
Kira Freije. Vocabulary of ruin and the divine wound, 2023. Stainless steel, cast aluminium, silk, velvet, wool, cigarette. Photo: Veronica Simpson.
The E-Werk’s Turbine Hall is the perfect setting for Freije’s new figurative metal sculptures. This vast venue opened up new possibilities for her work, she says, explaining the ideas behind her figures and how using lighting designers has been transformational.
Left: Hilma af Klint, The Ten Largest, Group IV, No. 7, Adulthood, 1907. Courtesy of The Hilma af Klint Foundation. Right: Piet Mondrian, Composition with Grid 3 Lozenge Composition with grey Lines, 1918. Kunstmuseum Den Haag.
They never met or even knew of one another’s work, yet they are united by a belief in theosophy and divine nature and a penchant for abstract painting.
Emily Kraus. Courtesy of the Artist.
This young painter, fresh out of the Royal College of Art, has already developed her own, very distinctive way of method of painting, producing vivid and dramatic textured works.
Andy Warhol: The Textiles, installation view, Fashion and Textile Museum, London, 2023.
If you thought you knew everything about Warhol’s work, this show may surprise you. The curators have unearthed a selection of vintage garments and fabrics printed with designs that reveal Warhol’s wit and eye for a memorable image.
Michael E Smith, Untitled, 2023. Basketballs, stairs. Installation view, Henry Moore Institute, Leeds. Photo: Veronica Simpson.
A scruffy old armchair, two grubby basketballs, ventilation panels, dirty white walls – it’s unsettling, not what you expect of a show. But this sense of discomfiture is exactly what Smith wants you to feel.
Christina Seilern. Photo: Kanipak Photography.
Having set up Studio Seilern Architects in 2006, Christina Seilern has been quietly building a solid body of elegant, spatially ambitious buildings and is now garnering the industry accolades she deserves. She talks about storytelling, sexism, slow regeneration and prioritising interesting work.
Hunterian Visitor Experience Assistant Esme Rankin in the reframed Hunterian Art Gallery.  Photo courtesy Martin Shields Photography.
Scotland’s oldest public museum has “reframed” its historic collection to recognise Glasgow’s links to empire, slavery and colonialism.
Isaac Julien, Looking for Langston, installation view, Tate Britain, 2023. Photo: Jack Hems. © Isaac Julien. Courtesy the artist and Victoria Miro.
Charting 40 years of the film-maker’s career, this exhibition immerses its audience in slavery, immigration and homophobia. This is cultural activism at its best.
Installation view, Ai Weiwei: Making Sense, The Design Museum, London 2023. Photo: Ed Reeve.
Ai has a genius for incorporating pieces of everyday design into his work as a form of protest at government oppression and corruption, or as a means of questioning our cultural fixations. And where better to parade that talent than at London’s Design Museum, in this career-spanning retrospective?.
James Ward, Fanny, A Favourite Dog, 1822. By courtesy of the Trustees of Sir John Soane’s Museum, London.
While some might be quick to dismiss #WallaceWoofs as kitsch and gimmicky, it is a well-founded and well-grounded exhibition – and gets the lick of approval from my four-legged companion.
Left: Chaim Soutine, Le valet de chambre, c1927. Oil on canvas. The Lewis Collection. Right: Leon Kossoff, Head of Seedo, 1964. Property of the Roden Family. Copyright Leon Kossoff Estate.
Colour, gesture and expression permeate the works of Chaïm Soutine and Leon Kossoff, but this exhibition cleverly allows each artist to be seen on his own terms.
Shuji Nakagawa. Installation view of Moon from the series Born Planets, 2022. Cedar wood. Photo: Koroda Takeru.
Contemporary Japanese artists celebrate their country’s traditional ancient crafts using natural products as well as looking to the future of design.
Edouard Vuillard, Lugné-Poë, 1891. Oil on canvas, 22.2 x 26.7 cm. © Memorial Art Gallery of the University of Rochester.
Cézanne, Van Gogh and Gauguin are at the heart of this show as it takes us on an exhilarating journey through art’s evolution from the final impressionist exhibition to the eve of the first world war, with many previously unseen works from private collections.
Saya Woolfalk. We Emerge at the Sunset of Your Ideology, 2022. (installation detail view). Multimedia installation, four figures: glass and digital collage vinyl mural, 214  x 145 inches each. 2 single-channel colour videos, infinite loop with sound. Pennsylvania Academy of the Fine Arts. Photo: Lori Waselchuk.
This partnership between art institutions of disparate missions and unequal standing and resources has produced a notable exhibition, in which 20 cross-generational artists address the the state of democratic values in the US.
Presidential Airport Lounge, Bratislava, Slovakia. Photo: Lívia Pemčáková.
This groundbreaking exhibition brings together 11 countries from the former communist bloc and explores the role of design works made there during the 1950s to the 80s.
Stefan Brüggemann: Not Black, Not White, Silver, installation view, Mostyn, 2023. Photo © Rob Battersby.
Spray-painted words ‘deface’ an array of surfaces, vast and small, some fashioned from expensive marble and gold leaf, in this show spanning 20 years of Brüggemann’s output. But does graffiti, once a dramatic way to put across a subversive message, still have the power to shock?.
Treasures of Ukraine: A Nation’s Cultural Heritage published by Thames & Hudson.
This book chronicles Ukraine’s rich cultural heritage even as the war with Russia threatens the very existence of its collections and the buildings that hold them, with 21 museums already damaged.
General Idea, Nazi Milk, 1979/1990. Gaby and Wilhelm Schürmann Collection, Herzogenrath, Germany. © General Idea. Photo: Peter Tijhuis.
An elephantine retrospective captures the madcap antics and media theorising of the pioneering Canadian conceptualists.
Berthe Morisot, Self-portrait, 1885. © Musée Marmottan Monet, Paris.
The first major UK exhibition of Berthe Morisot’s work in almost three-quarters of a century, this overdue display not only showcases the sole female founder member of the impressionists, but highlights new art historical links, including to English art.
Resolve collective (Melissa Haniff, Akil Scafe-Smith and Seth Scafe-Smith). Photo © Adiam Yemane.
Using cast-off materials from other institutions – storage boxes, crates, exhibition signs from previous shows and steel fencing – we are made to think hard about the inner workings of an art institution.
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