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I am Ashurbanipal tells the story of an educated Assyrian king with a brutal streak
Andy Warhol. 129 Die in Jet! 1962. Acrylic and pencil on canvas, 100 x 72 in (254 x 182.9 cm). Installation view, photo: Jill Spalding.
The Whitney’s pantheon exhibition, of close to 300 works, sidelines Andy, the pop artist marketed on posters and mugs, to reveal Warhol, the visionary become meme with a signature vocabulary that still colours the culture.
Andreas Lolis. Untitled, 2018. © PanosKokkinias, Courtesy NEON.
Lolis talks about why he uses marble to sculpt bin bags, wooden crates and other mundane items, in reference to homelessness, the refugee crisis and Greece’s changing society.
Artes Mundi 8, National Museum Cardiff, 2018. Photo: Polly Thomas.
The artists shortlisted for Artes Mundi 8 aim to stir our consciences on everything from abuse of the Earth’s resources to the creep of surveillance and the steel industry’s impact. We talk to two of them, Anna Boghiguian and Otobong Nkanga, about their work.
Otobong Nkanga talking to Studio International at the opening of Artes Mundi 8, National Museum Cardiff, 25 October 2018. Photo: Martin Kennedy.
Otobong Nkanga talks about her inspirations for the works on show at Artes Mundi 8, and her enduring preoccupations with the reciprocity or interconnectedness of emotion and action around the world.
Anonymous. Airship Count Zeppelin landing at the Aspern Airfield near Vienna, 1931. Black-and-white photograph, 23 x 17 cm. © Austrian Archives / Imagno / picturedesk.com.
Vienna’s museum of modern art presents a photographic journey through the past 100 years of Austrian history that reveals how images can change the way we remember events and eras.
Henrike Naumann. Photo: Inga Selch.
Naumann’s careful recreations of 1990s living spaces explore how sudden social and economic change led to the rise of the far right in Germany and Austria.
Tamara de Lempicka, Les deux amies, 1923. Installation view, Modern Couples: Art, Intimacy and the Avant-garde, Barbican Art Gallery, 10 October 2018 – 27 January 2019. © John Phillips / Getty Images.
Modern Couples attempts to retell the story of the modernist avant-garde through creative relationships. But is its intellectual impact marred by its massive scale?.
Phoebe Unwin. Almost Transparent Pink, 2018. Oil on canvas, 51 x 41 cm. © the artist. Courtesy Amanda Wilkinson Gallery, London.
Unwin describes the role of memory in the 10 oil paintings of this solo show and explains why she resists being aligned with any specific group or movement.
Billy Apple speaking to Studio International at The Mayor Gallery, London 2018. Photo: Martin Kennedy.
Billy Apple is not just an artist – he’s a trademarked brand. He talks about exchanging his art for a knee operation and his new exhibition at the Mayor Gallery, London.
Stephen Farthing. Photo: Dan Stevens.
Farthing explains how his Miracle paintings, now on show at Salisbury Cathedral, came from a conversation he had with a Coptic priest in Cairo.
JW Anderson Autumn Winter 2018 campaign. Photograph courtesy of Julie Greve.
The recent art-school graduate, who was selected to photograph this season's campaign for standout British fashion label JW Anderson, discusses her approach to commercial projects and the importance of forming a rapport with her subjects.
John Waters, Playdate, 2006 (foreground). Silicone sculpture of Michael Jackson and Charles Manson. Installation view, The Bunker Artspace, West Palm Beach, Florida. Photo: Jill Spalding.
Given a test run last autumn and reopening on 2 December, The Bunker, a private venue fronting the collection of curator-collector Beth Rudin DeWoody, is a trifecta of firsts; first to give Palm Beach a serious art scene; first to show art as an evolving aesthetic and first of what I anticipate will be the new trend – the show space as self-portrait.
Santiago Sierra. South Pole Documentation, 2015. Ditone archival print on Hahnemuhle Photo Rag. Courtesy of Santiago Sierra Studio & a/political.
This immersive installation documents Sierra’s provocative planting of black flags – symbol of the anarchist movement – at the north and south poles, opening the way for a timely discussion on borders and freedom of movement.
Yayoi Kusama. INFINITY MIRRORED ROOM - MY HEART IS DANCING INTO THE UNIVERSE, 2018. Wood and glass mirror room with paper lanterns, 304 x 622.4 x 622.4 cm (119 5/8 x 245 1/8 x 245 1/8 in). © Yayoi Kusama. Courtesy Ota Fine Arts, Tokyo / Singapore / Shanghai and Victoria Miro, London / Venice.
In the 60s, Kusama was a pioneering artist, but it’s hard not to feel that this show, with its hyped-up pumpkins and mirror room, is more about her status as an Instagram sensation.
Pieter Bruegel the Elder, The Haymaking, 1565. Oak panel, 114 × 158 cm. The Lobkowicz Collections, Lobkowicz Palace, Prague Castle © The Lobkowicz Collections.
Marking 450 years since Pieter Bruegel the Elder’s death, this staggering survey reunites a vast amount of work from the greatest Flemish painter of the 16th century.
Edward Burtynsky. Dandora Landfill #3, Plastics Recycling, Nairobi, Kenya  2016. Courtesy Flowers Gallery, London and Metivier Gallery, Toronto.
Burtynsky’s photographs capture the drama of a planet in flux, combining technical virtuosity with a powerful message about climate change and our role in destroying the Earth.
Damien Coulthard.
To mark its 30th anniversary, Rebecca Hossack Gallery is showing the Australian artist Damien Coulthard. Here, he talks about painting the creation stories of his people, the Adnyamathanha.
Goldsmiths Centre For Contemporary Art, entrance view. Image courtesy of Assemble.
The Turner Prize-winning architectural collective Assemble has transformed an old bathhouse into a contemporary arts centre that is idiosyncratic and joyful.
Poster art by Martiszu in the Sophienspital Grounds. Photo: Veronica Simpson.
What’s the difference between design and art? This year’s Vienna Design Week went a long way to answering that perennial question. Designers, artists, architects and educators from all over central Europe used this platform to interrogate how and why we live the way we do, and proposed intriguing, absorbing or simply beautiful solutions.
Dan Graham speaking to Studio International at Lisson Gallery, London 2018. Photo: Martin Kennedy.
As Dan Graham’s new show opens at the Lisson Gallery in London, he talks about his early days as a New York gallerist, his love of music and why he doesn’t believe his famous pavilions are important.
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