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Installation view of Danh Vo: untitled at the South London Gallery, 2019. Photo: Nick Ash.
Gathering together constellations of objects and artworks, the Danish artist’s largest UK exhibition thrives on real and imaginary connections
Anthony Eyton by Sarah Eyton, 2019. © Sarah Eyton.
Now 96, remarkably the Royal Academician’s latest show is full of recent paintings, which Frank Auerbach has told him are his most original yet. He talks about his artistic practice, the influence of his mother’s work and how hard he finds it to finish a painting.
Sidsel Meineche Hansen, Welcome to End-Used City, 2019. Installation view, Chisenhale Gallery, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy the artist. Photo: Andy Keate.
From sex dolls to data harvesting, the artist lays the blame for the digital-human disconnect squarely at our door, with our increasing willingness to allow companies access to our personal data.
Garry Fabian Miller. There is no shadow, 2017. Light, oil, Lambda C-print from dye destruction print, 143.2 x 143.2 cm (framed). Courtesy of the Artist and Ingleby, Edinburgh.
Using early-19th century techniques, Miller works without a camera, experimenting with light to produce mesmerising and haunting images.
Kiki Smith, Cathedral, 2012. Jacquard tapestry © Kiki Smith. Courtesy Timothy Taylor, London/New York and Magnolia Editions.
From the dreamlike worlds of her colossal tapestries to her printmaking and the photographs in which she records her own sculptures, this show reveals the multiple threads that weave in and out of her rich, multidisciplinary practice.
Alan Davie. Glory, 1957. Oil paint on canvas. © The Estate of Alan Davie. Private Collection.
An exhibition of work by Alan Davie in Wakefield in 1958 was formative for the young David Hockney and the power of influence is foregrounded in this new exhibition.
George Stubbs, Whistlejacket, c1762. Oil on canvas. © The National Gallery, London.

MK Gallery’s generous survey confirms the Liverpudlian Leonardo’s position as one of the 18th century’s greatest artists, who matched anatomical exactitude with a proto-Romantic spirit.
Luigi Ghirri. Modena, TBD. Vintage c-print, 20 x 29.3 cm (7 7/8 x 11 1/2 in). © Estate of Luigi Ghirri. Courtesy the Estate, Matthew Marks Gallery, New York, Los Angeles, and Thomas Dane Gallery.
The haunting microcosm of north Italian suburbia as pictured by the matchless Luigi Ghirri is on display in this show at Thomas Dane Gallery.
Stephen Dean, Vortex, 2008, installation view, Frac Corsica, 2019.
Half-a-dozen works by Dean and two by Deleporte make up this stunning double exhibition by the New York-based pair.
Barry Flanagan, installation view, Ikon, 2019. Courtesy The Estate of Barry Flanagan and Ikon.
The hare dominated his practice to such an extent that it is often all he is remembered for, but this comprehensive exhibition reveals the true breadth of Flanagan’s oeuvre.
Lucy Joyce at E-Werk Luckenwalde 2019. Photo: Anna McNay.
With her six-month inaugural exhibition and a live Aktion ahead of the official opening, Joyce hopes to surprise visitors and make them think – as well as to leave behind something of her collaborative research to guard the new Brandenburgian arts centre.
Kudzanai-Violet Hwami in her studio at Gasworks, London, 2019.
The Zimbabwe-born, London-based artist talks about her new work for her solo show at Gasworks in London and why her paintings for this year’s Venice Biennale almost reduced her to tears.
Lucian Freud. Reflection (Self-portrait), 1985. Oil on canvas, 55.9 x 55.3 cm. Private collection, on loan to the Irish Museum of Modern Art. © The Lucian Freud Archive / Bridgeman Images.
This exhibition of self-portraits across seven decades shows the artist at his most vulnerable.
Mark Bradford, A five thousand year old laugh, 2019. Mixed media on canvas, 182.9 x 243.8 cm / 72 x 96 in. © Mark Bradford. Courtesy the artist and Hauser & Wirth. Photo: Joshua White.
In his first exhibition at Hauser & Wirth London, the LA-based artist looks into the past to create an abstract art for the present.
Dame Laura Knight. Dancers, late 1920s. Drawing. © Reproduced with permission of The Estate of Dame Laura Knight DBE RA 2019.  All Rights Reserved. Photo: Royal Academy of Arts, London.
This small but delightful display, comprising largely sketches from the RA’s collection, beautifully illustrates the key themes of Knight’s working life: the countryside, the nude, and scenes from the theatre, ballet and circus.
Michael Simpson. Photo: Wolfgang Starr.
The artist discusses how going to a football match at the age of seven inspired him to start painting, his dislike of organised religion, his rigorous approach to his art and his current new work at Blain Southern.
Portrait of Michael Sherrill, courtesy of the artist. Photo: Scott Allen at Hang the Moon Photography.
Sherrill talks about his current retrospective at the Smithsonian’s Renwick Gallery, why he calls himself a “material-based artist”, being influenced by Matisse – and the joy of home-grown tomatoes.
Paul Gauguin, Self Portrait with Yellow Christ, 1890-1891. Oil on canvas, 38.1 x 45.7 cm. Musée d'Orsay, Paris. © RMN-Grand Palais (musée d'Orsay). Photo: René-Gabriel Ojéda
The National Gallery’s autumn blockbuster posits the troublesome post-impressionist firebrand as a revolutionary painter of portraits, concerned with himself even as he painted others.
Alberta Whittle: How Flexible Can We Make the Mouth, installation view, Dundee Contemporary Arts, 2019. Photo: Ruth Clark.
The Barbadian-Scottish artist explores her heritage and the legacy of Scottish involvement in the British Empire through a multifaceted, powerful and triumphant exhibition.
David Nash speaking to Studio International during the installation of his exhibition 200 Seasons at Towner Art Gallery, Eastbourne, 23 September 2019. Photo: Martin Kennedy.
The Welsh-based land artist talks of his early years, the evolution of his process, the importance of dialogue with materials and the need for his work to communicate the spirit and materials of its place.
Grayson Perry, My Perfect Life, 2019 (detail). Glazed ceramic. Photo: Veronica Simpson.
From the luxurious carpet depicting a homeless man to the Osprey handbag bearing the words ‘private school for my kids’, Perry is not afraid to lampoon the very people who buy his work.
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