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Huma Bhabha. Photo: Elyse Benenson, 2016.
The artist explains how working for a taxidermist helped her with sculpture, why she is fond of materials that are basically refuse, and the nerdy humour that she hides in her work
Stuart Whipps, If Wishes Were Thrushes, Beggars Would Eat Birds, 2020, Dundee Contemporary Arts. Photo: Ruth Clark.
Using installation, photography, film and sound, Whipps takes us on a journey exploring histories from around the world through plants and minerals.
Cecily Brown, Dog Is Life, 2019. Installation view of Cecily Brown at Blenheim Palace, Blenheim Palace, 2020. Photo: Tom Lindboe. Courtesy of Blenheim Art Foundation.
The Baroque splendour of Blenheim Palace meets its match in Cecily Brown’s furious, kaleidoscopic vision of a nation in decline.
Alexandre da Cunha. Photo: Mel Castro Duarte.
The artist discusses his use of found objects, the place of autobiography in his work, his fascination with concrete and the challenges he faced while developing his installation for the Northern line extension in Battersea, south London.
Ayako Suwa serving ‘delicacies of reminiscence’ for the ritual before the closure of the gallery due to the Covid-19 pandemic. © the artist.
The Japanese food artist Ayako Suwa usually uses food and flavours as her medium, but the Covid pandemic means she has had to adapt her practices. In this show, she focuses instead on our sense of smell.
John Byrne. Three Cats, 2020. Screenprint, 55 x 45 cm. © the artist.
This celebratory exhibition of Byrne’s screenprints, along with a companion show of portraits of the artist, by his friend the photographer David Eustace, champions the camaraderie, craft and warmth of one of Scotland’s most admired and multi-talented artists.
Héctor Zamora, Lattice Detour, 2020. Installation view, The Roof Garden Commission, courtesy of the artist. The Metropolitan Museum of Art, Photo: Anna-Marie Kellen.
With its nod to the US-Mexico border wall, Zamora’s installation at the Met raises provocative questions about socioeconomic and environmental issues as well as the increasing scrutiny facing art in public spaces.
Jean-Marie Appriou, The Horses, 2019. Cast aluminum, courtesy of the artist and CLEARING, New York/Brussels; Galerie Eva Presenhuber, Zürich/New York. Presented by Public Art Fund, Doris C. Freedman Plaza, Central Park, Sep 11, 2019 - Aug 30, 2020. Photo: Nicholas Knight, Courtesy of Public Art Fund, NY.
With museums and galleries shut due to the pandemic, art had to be rethought. Online shows have their place but can’t compete with seeing the real thing. With that in mind, here is a roundup of New York’s best outdoor offerings.
Christo in front of the London Mastaba, Hyde Park, London, 2018. Photo: Tim Whitby, Getty.
A clever smartphone app has turned Christo & Jeanne-Claude’s London Mastaba into a trick of augmented reality that you can carry around in your pocket, allowing you to site it anywhere you chose.
Yoko Ono, DREAM TOGETHER, 2020, installed at The Metropolitan Museum of Art © Yoko Ono. Image: The Metropolitan Museum of Art, Photo by Anna-Marie Kellen.
The Metropolitan Museum of Art in New York reveals Yoko Ono’s new commission, created in response to the Covid-19 pandemic, ahead of the museum’s reopening this month.
The Artist in Time: A Generation of Great British Creatives by Chris Fite-Wassilak is published by Herbert Press
With contributions from painters, poets, illustrators and film-makers, including Ralph Steadman, Rasheed Araeen and Frank Bowling, this glossy publication gives older creatives a platform to discuss their daily working habits and motivations, and how their approaches have adapted over the years.
Michael Schmidt, Untitled from, Berlin-Kreuzberg. Stadtbilder 1981-82. Silver gelatin print, 33.6 x 27.8 cm. © Stiftung für Fotografie und Medienkunst mit Archiv Michael Schmidt.
A hometown survey of the Berlin photographer captures a city on the cusp of change, anxious and expectant.
Krištof Kintera speaking to Studio International via Zoom from his studio in the Czech Republic, September 2020.
Unable to install The End of Fun! at Ikon in Birmingham because of Covid-19 travel restrictions, Kintera spoke to Studio International via Zoom from his studio in the Czech Republic.
Danh Vo. Chicxulub, 2020. Installation view, White Cube Bermondsey, 11 September - 2 November 2020. © the artist. Photo © White Cube (Theo Christelis).
Despite reminding us of our catastrophic past, our difficult present and our fragile future, this exhibition of Vo’s new works is oddly comforting.
Cat Roissetter, One Lover Softly, 2020. Colour pencil, graphite, crayon, on olive oil primed paper, 29.7 X 42 cm. © the artist.
In her latest exhibition, Roissetter creates a distorted dreamworld that playfully, but subtly reveals the seediness inherent in England’s ‘polite society’.
Toby Ziegler, The sudden longing to collapse 30 years of distance, installation view, Simon Lee Gallery, London. Courtesy of the artist and Simon Lee Gallery. Photo: Ben Westoby.
In a new series of large geometric works on paper and smaller figurative oil paintings on aluminium, Ziegler explores the relationships between memory and images.
Jacqueline Poncelet. Photo: Anthony Stokes.
A major UK survey exhibition of her work reveals the restless creativity and curiosity of this talented, multimedia artist. She talks about her love of landscape and her revolutionary approach to pattern.
Alberta Whittle. Photo: Matthew A Williams, 2019.
The artist talks about the erasure of black people in everyday society, and how this informs and motivates her to challenge herself, and her audience, with her filmic and performative installations.
Heather Phillipson with THE END, Fourth Plinth, Trafalgar Square, London, 2020. Photo: David Parry PA.
With her sculpture THE END finally installed in Trafalgar Square, after a delay due to Covid-19, and the first full monograph of her work now out, Phillipson talks about the pandemic, subversion, her multimedia practice and endings and beginnings.
Natacha Nisic. Photo © Tim Trompeter.
The French artist and film-maker Natacha Nisic talks about The Crown Letter, the international participatory art project she launched in April, which offers a digital space for female artists from around the world.
Li Qing, East of Eden, installation view, Galerie Eigen + Art, Berlin, 2020.
The Chinese artist Li Qing explores the tensions between east and west through the lens of architecture and the urban environment, documenting what he calls Hangzhou’s ‘lonely house’ phenomenon.
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