Two quite different artists who have distinct and diverse relationships with the islands of Grenada and its people meditate on the impact these roots have had on their work and their identities.
Taking as inspiration the stories of scientists, donors and patients and creating a breathtakingly beautiful – and, as yet, unfinished – piece of music, Hüseyin is collaborating with the Institute of Cancer Research and the Royal Philharmonic Orchestra to fundraise for a new building. His work will be completed only once the building is finished.
We visited Mourad at the Ismaili Centre in London to witness the creation of his latest work, a six-metre hanging sculpture. He explains the ideas behind it and the techniques he uses.
Eisenman’s Groupings of Works from Fountain, three sculptures joyfully spouting or spitting water into the air in sparkling arcs, were unveiled last month at the Fenway in Boston. The extreme likability of these oversized creatures is sure to make them crowd pleasers.
A miraculous retrospective revivifies the Argentine-Italian painter and sculptor, laying bare the breath of his vision and revealing an artist constantly surging forward.
Although these four solo exhibitions – hosted side by side – are each distinctive, they all contain “slow” works that make you focus on them as they present ideas about abstraction, painting, sculpture and beauty.
The Colour Palace is a monumental temporary pavilion by artist Yinka Ilori and architects Pricegore, bringing the heat and vibrant hues of Nigerian markets and mosques to the Sir John Soane-designed Dulwich Picture Gallery. But does it do more than simply draw attention and add ornament?.
Seeking to erase embedded patriarchal structures and fixed gender identities through dance, Julie Cunningham’s choreography is often inspired by feminist texts. Their new work for Art Night 2019 promises to be full of energy – all night long!.
The spectacle that is the Royal Academy Summer Exhibition and the stylishness of its visitors has, it seems, never waned and, from the outset, the press has contributed to its reputation. Its visitors are just as important as the artworks they come to see.
This exhibition is a tribute to six 20th-century artists who drew inspiration from the street art and graffiti they found in their cities, in a celebration of mark making both ancient and modern.
This thought-provoking exhibition, the largest on Hitchens since 1989, deftly explores the enigmas of his work in a career that spanned an incredible six decades.
Sherman was fascinated by the ambiguous nature of appearances and she throws out clues to entice viewers into forming their own interpretations of her work.
Luka Zimmerman talks about her interest in people on the margins, her collaborative process, and that fine line between reality and fiction, explored in her latest film, Here for Now.
Nikhil Chopra, the 2019-2020 artist in residence at New York’s Metropolitan Museum of Art, talks about his live performance there later this year, and about wanting to give the artist as much importance as a scientist, a journalist or a historian.
The elegantly cryptic, scorched sculptures and lustrous lead reliefs of the Italian artist Nunzio are, for the first time, on view in London at Mazzoleni.
Using his art as a form of meditation to alleviate chronic back pain, Sudanese artist Ibrahim El-Salahi turns his medication packets into miniature canvases. He talks here about his intricate drawings and how they are enlarged on to canvases – a mixture of detail and minimalism, suffering past and present, personal and general.
The artist talks about accommodation and negotiation as expressed in her Venice installation, Stakeholders: a multi-dimensional sculpture using hand turned wood and 3D printed elements.
Jungerman and Kensmil’s installations for the Dutch Pavilion explore issues of race, identity, culture, history and art history. Here, at the opening of the show, Jungerman talks about the sources of his work in Dutch and European modernism, Winti, an Afro-Surinamese religion, and his Maroon ancestry.
Shu Lea Cheang’s multi-media installation for Venice uses its ancient prison setting well to explore the biographies of historical and contemporary sex offences, and ponder the impacts of today’s omnipresent digital surveillance.
Immersive art doesn’t usually involve a 5.30am start and a day hiking in the rain, but Into the Mountain opens us up to the potential of contemporary art practices to be truly adventurous and transformative.
With works from the 17th century to the present day, this impressive exhibition views the changing nature of London’s rich and varied architecture through the eyes of artists across the years.
Dulwich Picture Gallery shines a well-deserved spotlight on an almost-forgotten era of future-facing printmaking, which adroitly captured the thrill of modern urban life.
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This landmark retrospective highlights the breathtaking variety of Goncharova’s output, from religious painting to Russian folk art to designs for French fashion houses and costumes for the Ballets Russes.
The photographer celebrates 28 years living among south London’s black British community with this thoughtful and affectionate portrait.
Degot discusses Steirischer Herbst, an annual art festival held in Graz, Austria. Last year, her first as the festival’s curator, it tackled the rise of populism across Europe. This year’s iteration, Grand Hotel Abyss, examines hedonism and whether Graz, in particular, and Europe in general is a pleasure zone on the edge of a void.
Lubaina Himid’s first solo exhibition in the US opens this week, debuting works that continue her longstanding project on identity, representation and survival. She talks here about this new work and her pioneering role in the 1980s in the British black arts movement.
From criticism of dictatorship in her native Portugal in the 60s to the 90s abortion series and Dog Women, Paula Rego’s subjects are as relevant today as ever. As Obedience and Defiance, her first UK retrospective in two decades, opens, she talks about her work and what inspires her.
For the first time, Craig-Martin’s sculptures are indoors and there is an Alice in Wonderland feel to wandering among everyday objects such as forks and safety pins on a vast scale.
This exhibition of Bowling’s work is colourful, joyous and long overdue. Covering the entire span of his artistic career, it reveals for the first time the importance of this overlooked artist.
This joyful exhibition, a testament to Krasner’s astonishing energy, creativity and capacity for reinvention, reaffirms her rightful status as a towering figure in postwar American art .
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