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JMW Turner (1775-1851). Llanberis Lake and Snowdon - Caernarvon, Wales, about 1836 (detail). Photo: © National Galleries of Scotland | Antonia Reeve.
From storms thrashing lighthouses to mountaintops enveloped by cloud, from golden piazzas to the Italian Riviera, Turner’s delicate watercolours are stirring visions of the natural world
Lorna Macintyre: Pieces of You Are Here, installation view, Dundee Contemporary Arts, 8 December 2018 – 24 February 2019. Photo: Ruth Clark.
Scottish artist Lorna Macintyre delves into the relationships between people, their objects and their traces, in this fascinatingly forensic yet poetic exhibition at DCA.
(Henry) Mark Anthony (1817–86). Sunset (also known as Rock of Cashel), c1847. Oil on canvas, 45 x 45 in (114 x 114 cm).
This exhibition of artwork from Ireland’s Great Hunger Museum at Quinnipiac University, Connecticut, looks at how the country’s great famine in the mid-19th century still resonates today.
Ceal Floyer. Hammer and Nail, 2018. Video projection with audio, 
dimensions variable. © Ceal Floyer. Courtesy Lisson Gallery.
Ceal Floyer’s subversion of everyday objects continues her meditation on materiality in private and public space.
Installation view, showing Kohei Suiguira’s book designs, from Fluorescent Chrysanthemum Remembered, CCA Laznia, Gdansk, Poland. Photo: Paweł Jozwiak.
A retrospective exhibition, curated by Jasia Reichardt,  celebrates the 1968 ICA show that first brought the Japanese avant garde to Europe.
Oli Kellett. Cross Road Blues (6th St, LA), 2016. Archival pigment print, 81.3 x 101.6 cm (32 x 40 in). © Oli Kellett / Courtesy HackelBury Fine Art.
British photographer Oli Kellett travels to the US to shoot people at road junctions. Here, he explains what led him to the subject matter that now forms his first solo show.
Jackson Pollock. Summertime: Number 9A, 1948 (detail). Oil paint, enamel paint and commercial paint on canvas © Tate, London 2018.
With glimmers of a cloak-and-danger cold war thriller, this look at the US artist’s 1958 UK debut considers the gallery design, remarkable for its time, and the murky matter of Pollock’s secret CIA support.
Lorenzo Lotto. Portrait of Andrea Odoni, 1527. Oil on canvas, 104.3 × 116.8 cm. Lent by Her Majesty The Queen Royal Collection Trust / © Her Majesty Queen Elizabeth II 2018.
Lorenzo Lotto was a painter of emotions as well as likenesses. With every portrait, he reached beyond convention to get to the heart of his sitters.
Art Basel Miami Beach 2018, Al Held, B/W XIV, 1968 (left), Lynda Benglis, NAR, 1980 (centre), Sean Scully, Stack Greys, 2018 (right). Installation view, Art Basel Miami Beach 2018. Photo: Jill Spalding.
Trend-spotting is over, but lacking, too, was the buzz. In the end, what ABMB brought to fair-goers was less an agglomeration of work for sale than an indelible, fully sensory experience of art.
Brent Wadden: Sympathetic Resonance, installation view at Pace Gallery, London, 22 November 2018 to 10 January 2019. Copyright Brent Wadden, courtesy Pace Gallery.
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.
Zoe Leonard. Untitled Aerial, 1988/2008. Gelatin silver print, 86.3 x 60.5 cm (34 x 23 7/8 in). © Zoe Leonard. Courtesy the artist, Galerie Gisela Capitain, Cologne and Hauser & Wirth.
Leonard’s stripped-back black-and-white aerial photographs take us back to a simpler time.
Otto Mueller. Self Portrait with Pentagram, around 1924. Distemper on hessian, 120 x 75.5 cm. Von der Heydt-Museum Wuppertal. © Von der Heydt-Museum Wuppertal. Photo: Antje Zeis-Loi, Medienzentrum Wuppertal.
Exploring the life, work and artistic times of the German expressionist artist Otto Mueller, this exhibition revives the lively cultural exchange of the early 20th-century between Berlin and Wrocław.
Betty Yu. Photo courtesy of the artist.
New York-based artist Betty Yu talks about the gentrification of her neighbourhood in Brooklyn and what galleries can do to help.
Egon Schiele. Group of Three Girls, 1911. Pencil, watercolour and gouache with white gouache heightening on packing paper, 44.7 x 30.8 cm. The Albertina Museum, Vienna. Exhibition organised by the Royal Academy of Arts, London and the Albertina Museum, Vienna.
Commemorating the centenary of the deaths of two of Austria’s great modernist artists, this exhibition showcases 100 drawings on loan from the Albertina Museum and proves them to be far more than just erotic sketches.
Maja Hoffman and Jorge Pardo, hotel L’Arlatan, Arles. Photo: Pierre Collet.
Pardo and his team have transformed a tired French hotel in Arles into a work of art, designing and making a million handmade tiles, almost every piece of furniture and hundreds of his signature light fittings.
Nick Wadley, Talking to Strangers, 2006. From Nick Wadley in Gdansk, CCA Laznia, Gdansk, Poland.
A tribute to the British artist and art historian whose droll vignettes and punning wordplay open up life’s absurdities.
Margaret Salmon: Hole. Installation view, Dundee Contemporary Arts, 8 December 2018 – 24 February 2019. Photo: Ruth Clark.
This is a portrayal of love and intimacy, but love and pain are inevitably intertwined, and Hole is a stirring and heartbreaking work.
Christine Ay Tjoe. © Christine Ay Tjoe. Photo © Oku Yuji.
For her first solo exhibition in London, the Indonesian artist presents a group of intricately layered paintings and drawings that call on the contrasting environments of her home city of Bandung.
Dale Chihuly. Mille Fiori, 2018  (detail), installation view, Groninger Museum. Photo: Veronica Simpson.
Chihuly’s sheer brilliance and inventiveness in working with glass shine through in the magical creations on show here.
Nam June Paik. Fin de Siècle II, 1989 (partially restored, 2018). Seven-channel video installation, 207 televisions, sound, 168 × 480 × 60 in. (426.7 × 1219.2 × 152.4 cm). Installation view, Programmed: Rules, Codes, and Choreographies in Art, 1965-2018, Whitney Museum of American Art, New York, September 28, 2018-April 14, 2019). Whitney Museum of American Art, New York; gift of Laila and Thurston Twigg-Smith 93.139. © Nam June Paik Estate. Photograph: Ron Amstutz.
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.
Martin Creed watching his video, Hauser & Wirth, London, 2018. Photo: Veronica Simpson.
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.
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