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Gianfranco Zappettini: The Golden Age, installation view, Mazzoleni London, Courtesy London-Torino.
As his first solo exhibition in London opens at Mazzoleni, Zappettini recounts his ease with unconformity, the quest for transcendence, and why Joseph Kosuth was wrong about painting
David Reed: New Paintings, 2019, installation view. Artwork © 2020 David Reed/Artists Rights Society (ARS), New York. Photo: Rob McKeever. Courtesy Gagosian.
In his second solo show with Gagosian, Reed displays his many strengths in 15 new and impressive works.
Installation view, Not Vital. SCARCH’ Hauser & Wirth Somerset 2020. Photo: Ken Adlard. Courtesy of the artist and Hauser & Wirth © Not Vital.
Is there another living artist who has reimagined what architecture is or does quite so comprehensively as Vital?.
Peter Fischli David Weiss, Should I paint a pirate ship on my car with an armed figure on it holding a decapitated head by the hair?, installation view, Sprüth Magers, London, 2020. Courtesy Sprüth Magers. Photo: Stephen White.
Three works from the duo’s career point up their concern with commonplace objects and the melancholy humour of their art.
Ruth Asawa: A Line Can Go Anywhere, installation view, David Zwirner London, January 10 - February 22, 2020. Photo: Jack Hems. © The Estate of Ruth Asawa. Courtesy The Estate of Ruth Asawa and David Zwirner.
Asawa, who was known for weaving sculptures with wire and studying at Black Mountain College under Josef Albers and Buckminster Fuller, is featured in this first UK solo show.
Michael Brennand-Wood, Babel, 1992. Wood, paint, wire, embroidery. © The artist. The Whitworth, The University of Manchester.
This fascinating and engaging exhibition puts the idea of female collectors at the heart of a social and cultural history of textiles.
Alexandra Haeseker: The Botanist’s Daughter. Installation view, Edinburgh Printmakers, 2020. Photo: Alix MacIntosh.
Haeseker’s prints of the eco system that is often invisible to our eyes, below our feet, highlight how the destruction of fragile life forms can impact on our own lives.
Norman Cornish. Gantry at Night, undated. Pastel on paper, 53 x 74 cm. © Courtesy of Norman Cornish Estate.
The son of the artist Norman Cornish, whose work is synonymous with mining life in the County Durham town of Spennymoor, looks back at his father’s life and artistic legacy.
Saad Qureshi, Something About Paradise, 2019 (detail). Courtesy the artist and Yorkshire Sculpture Park. Photo © Jonty Wilde.
Step into a fantastical dreamworld as you explore Qureshi’s mindscape inspired by stories British people have told him of how they imagine paradise.
Marc Chagall. The Trampled Flowers, illustration for the publication Daphnis and Chloe, 1961, lithograph. Private collection. © ADAGP, Paris, 2019.
This colourful exhibition explores the influences of the Hellenic world and its Bacchanalian myths on the Jewish artist of folklore, circus, and biblical tales.
Francesco Clemente, Musica da camera IV, 1994. Pastel on paper, 26 3/8 x 19 in (67 x 48.3 cm). Collection of the artist, New York. Courtesy of Francesco Clemente Studio. Photo: Tom Powel Imaging.
A career-spanning selection of pastels by the transavantguardia stalwart is best when at its most whimsical and extempore.
Jan and Hubert van Eyck. The Adoration of the Mystic Lamb, 1432 (detail). Oil on panel. Saint Bavo’s Cathedral, Ghent. © www.lukasweb.be - Art in Flanders vzw.
Celebrating the first stages of restoration of the Ghent Altarpiece, as well as the incredible academic knowledge, innovation and artistic precision of the first learned painter in northern Europe, this once-in-a-lifetime exhibition brings together half of Jan van Eyck’s known works.
William Wissing. Queen Anne, when Princess of Denmark, c1685. Oil paint on canvas, 199.4 x 128.3 cm. National Galleries of Scotland, Edinburgh.
The Tate’s first survey of Britain’s late-17th-century art is a misshapen pearl, often glimmering but curiously uneven.
Ernst Ludwig Kirchner. Japanisches Theater [Japanese Theatre], 1909. Oil on canvas, 113.7 x 113.7 cm. National Galleries of Scotland. Photo: Antonia Reeve.
This is a small but moving display that, 75 years after the Holocaust, reminds us of the need for courageous art.
Christine Rebet talking to Studio International at the opening of Time Levitation, Parasol unit, London, January 2020. Photo: Martin Kennedy.
Studio International spoke to Rebet at the opening of Time Levitation, her first solo show in the UK, at Parasol unit, London.
Luca Giordano, Self-Portrait, 1680. Oil on canvas, 46.8 x 35.3 cm. 
Stuttgart, Staatsgalerie, from the friends of the Staatsgalerie since 1969 © BPK, Berlin, Dist. RMN-Grand Palais/image Staatsgalerie Stuttgart.
An often thrilling exhibition at the Petit Palais asserts the mastery of the inescapable Neapolitan baroque painter, long regarded as an artistic jack-of-all-trades.
Louise Jopling. Phyllis, 1883. Oil on canvas, 52 x 44 cm. Russell-Cotes Art Gallery & Museum.
This is an ambitious exhibition that examines the legacy of the Pre-Raphaelite Brotherhood in Britain from the 1840s to the first world war and beyond, but though it is sometimes intriguing it does not live up to its promise.
Paul Mpagi Sepuya talking to Studio International at the opening of his exhibition at Modern Art, London, January 2020. Photo: Martin Kennedy.
While a quest to understand the myriad undefined potentials of queer social spaces is one factor behind Paul Mpagi Sepuya’s deconstruction of his portraits, primarily he seeks to interrogate the act of photography itself.
Installation view of Bloomberg New Contemporaries 2019 at South London Gallery. Photo @ studiostagg.
From Ryan Orme’s inventive form of urban landscape painting to Eleonora Agostini’s weird depictions of family life and Ben Yau’s deep-dive into the history of the 1973 military coup in Chile, here are some of the best from this year’s New Contemporaries.
Alison Carlier, January 2020. Photo: Amanda.
The artist, the first to win the Jerwood Drawing Prize for an audio piece, talks about the overlap between drawing and words, and explains what informs her practice.
Josef Herman. Transit Officer, 1941. Gouache on paper, 55.5 x 43.5 cm (21 7/8 x 17 1/8 in) framed. © The Estate of Josef Herman, courtesy of Flowers Gallery.
As part of the nationwide arts festival Insiders/Outsiders, this retrospective of the Jewish émigré artist brings to life his suffering and his search for a common humanity, epitomised in his paintings of Welsh miners returning home against the twilight sun.
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