The artist talks about Sympathetic Resonance, his new show at Pace, why he refers to his weaving as painting, and trawling websites daily in search of secondhand yarn.
Leonard’s stripped-back black-and-white aerial photographs take us back to a simpler time.
The Moongate Garden at the Sackler Gallery provided a magical backdrop for Mariko Mori’s performance of Oneness for the gallery’s annual fundraiser.
Using films, photo collages and reconstructions, this show brings back to life the pioneering work of the artist-architect who turned art into a social project in 1970s New York.
Famed for wrapping massive structures, great bodies of water and chunks of coastline as well as monumental sculptures built from oil drums, Christo, who collaborated with his wife Jeanne-Claude until her death in 2009 – and still talks about her in the present tense – discusses his extraordinary career.
The National Portrait Gallery introduces us to Thomas Gainsborough’s colourful family in a beautifully realised exhibition.
Throughout history, unicorns have borne the power of intrigue and attraction, and this brief chronology, centring on the Musée de Cluny’s six medieval tapestries, The Lady and the Unicorn, showcases some of the highlights of artistic response.
A tender testament to the relationship of two artists, whose lives and work are inextricably linked, bringing to life the moor landscapes of northern Germany.
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.
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.
From Nam June Paik’s 1960s experiments to alter images on a TV screen to Ian Cheng’s use of chatbots and Jonah Brucker-Cohen and Katherine Moriwaki’s comments on celebrity-making through software that tracks Twitter feeds for reality TV shows, this exhibition spans 50 years of programmed works.
Creed spoke to us at the opening of his new show, Toast, which includes a dancing sock, a painting that moves in and out of the room and a troupe of singers, along with new drawings, videos, paintings, textiles and a rotating piece of toast.
In this fascinating show, large-scale immersive installations track visitors’ heartbeats and translate them into flashing lights, rippling waves and soundscapes.
Roche Court’s presentation of Robyn Denny’s mysterious and enigmatic 60s abstract paintings runs alongside Neil Gall’s collages based on Studio magazine and his collage inspired cut-out paintings.
An exhibition exploring the shared motifs, subjects and settings of paintings and films by Pierre-August Renoir and his film director son Jean demonstrates how all too often, what in youth we think we want to escape, in adulthood we want to bring back close.
This retrospective helps us understand Nauman as an artist who turns attention to himself, his body and his image as an object of exploration in its relation to time, place and history.
A well-defined exhibition at Mazzoleni, London, trains its eye on Michelangelo Pistoletto’s incipient figurative experiments and their aftermaths.
I am Ashurbanipal tells the story of an educated Assyrian king with a brutal streak.
The Venezuelan artist recounts packing a life into a suitcase, the potency of objects in evoking the past, and the will to overcome loss through transformation.
Burne-Jones may not appeal to the contemporary art world, but Tate Britain’s survey proves there’s more to the pre-Raphaelite master than Arthurian escapism.
In 1938, a year after the notorious Nazi exhibition of “degenerate art” in Munich, a counter exhibition in London showed works by 65 of the defamed artists. Eighty years on, this retrospective looks back at that exhibition, its organisers, the artworks and the artists themselves, and the stories of the lenders.
Léger is regarded as the father of pop art and, despite his harrowing experiences during the first world war, the works here reflect a sense of optimism.
In a playful, rebellious show that explores the sinister and surreal of the everyday, the London-based artist Emma Hart turns to clay and chaos in her first Scottish exhibition.
This exhibition brings together the works of a formidable group of artists whose friendship has inspired some compelling portraits.
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With two new luxury blocks of flats, OMA and Bjarke Ingels Group have added their architectural signatures to the Stockholm skyline. But are these apartments for the affluent really what Stockholm needs?.
Özcan talks about her recent installation at a bar in Graz, extraterrestrials, the Kosovo war, artworks that function like pop songs and why men confide in her.
Lotte Laserstein was a rising star of Weimar Berlin, forced to leave her country and abandon her artistic aspirations, but with this exhibition of highlights from her peak, there is hope that her name may yet not be forgotten.
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.
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.
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.
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