London’s Horniman Museum has just been awarded one of the art world’s biggest prizes. Nick Merriman, the museum’s director, says its winning formula involves a passion for the environment and a determination to reach a more diverse audience.
With swooping forms and blazing colour, Chowdhary explores the grey areas between east and west, sculpture and architecture, and the functional and the decorative. She talks here about the themes that underpin her work.
Premiered at the Glastonbury Festival, Ai Weiwei: Yours Truly is a moving and powerful documentary about the horror of political imprisonment, offering insights into the artist’s own struggles and those faced by freedom fighters across the world.
Oslo’s new National Museum opened in June, its 6,500 objects arranged to tell a refreshingly inclusive and post-colonial story of the evolution of art, design and craft. How does the new museography of this, Scandinavia’s largest art museum, and its architecture, measure up?.
From Thomas Gainsborough and John Constable to Richard Long and Yinka Shonibare, what unites these artists and their works across the centuries is a shared concern with the relationship between our planet and its inhabitants.
The architecturally trained artist talks about her new show at Edinburgh’s Talbot Rice Gallery, and looking at the constructed nature of labour and leisure, as well as value.
In the first comprehensive exhibition of Avery in Europe, the RA brings together more than 70 works from the 1910s to the 1960s, showing how he influenced artists such as Mark Rothko and Barnett Newman – and, in turn, learned from them.
An amateur photographer who, while working as a nanny, captured the streets and people of Chicago from the 1950s and 1960s like no other, is seen here in her first solo UK show at MK Gallery.
A long overdue survey covering 40 years of work from an artist long interested in the complexities of colour and its place in the urban environment.
This show follows the postwar Italian artist’s path as he journeys from figuration to abstraction, with his wife, young daughter and local scenery providing the subject matter for much of his work.
The Serpentine’s Back to Earth programme asked artists to consider how art can respond to the climate emergency. This exhibition is a tribute to their many and varied responses.
Talbot’s winning commission for the Max Mara Prize takes as its jumping-off point Gustav Klimt’s The Three Ages of Woman, setting up questions around age, feminism and climate that the viewer is left to answer.
As he exhibits two large-scale works in London, the Egyptian artist talks about creating museums, heteronormative male privilege – and Hugh Hefner’s bed.
The writer and curator talks about the impact of the enormous social, economic, and political changes in China on the post-Cultural Revolution generation of artists, including the seven she features in her new show at the Asia Society .
Art historian and biographer Frances Spalding leads us through a complex period in the development of artistic practice in England.
The latest edition of the venerable festival imagines art as a collaborative endeavour that transcends individual artworks and artists. It’s sprawling, unconventional and at times unmanageable, but delivers a shot in the arm.
The artist, who is of mixed Japanese and Samoan heritage, talks about showcasing queer rights and revealing the toxic influence of colonialism in her works.
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Baroness Elsa von Freytag-Loringhoven was once described as an artist who ‘dresses dada, loves dada, lives dada’. Here, 12 artists respond to her life, artwork – including one of the first readymades in art history – and extraordinary poems.
Prepare to look and to be looked at, as Silver’s dynamic sculptures and works on paper use different conceptual strategies to engender varied emotional responses.
Future Library is artist Katie Paterson’s prayer that trees, literature and the human imagination will survive into the next century. She talks about the work and the opening of the Silent Room in an Oslo library in which a literary manuscript will be placed each year for 100 years.
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In her works on paper, photographs and bronzes, the young British Ghanaian artist conjures up memories, mythologies and the landscape of rural Britain in this captivating yet perplexingly cryptic show.
The 2.5-metre-high murals overpower the confines of this small village museum. But it is a rare opportunity to see them up close and to learn about the artistic community in which Brangwyn lived.
This feels like a patchy presentation and, despite the promise of ‘masterpieces’, the selection veers more towards Munch’s experimental works.
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