In her films, sculptures, tapestries and prints Barrada plays with the materiality of colour.
The artist’s portraits have flown under the radar, but getting to know his sitters reveals a lot about Munch himself.
From the heart of her installation at the White House in east London, the Romany artist talks about her inspirations, her processes, and how she seeks to deconstruct the stereotypes, language and images that are used to exclude Gypsy, Roma and Traveller communities in broader society.
The sculptor talks about curating These Mad Hybrids: John Hoyland and Contemporary Sculpture, now at the Millenium Gallery, Sheffield, her early career as Anthony Caro’s assistant and why humour is so vital to her work.
The Royal Academy’s new exhibition reveals the mighty French novelist as a fascinating, ever-experimental artist.
The exhibition presents a gamut of international artists who work with artificial intelligence in various ways, exploring a wide range of possibilities offered by this latest technological development.
The National Gallery’s meticulously researched exhibition of medieval Sienese masterpieces is an amassing of wonders that’s worth its weight in gold.
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Critchlow’s six sombrely sexy paintings respond to European painting from the 17th and 18th centuries, asking us to look and look again.
With many objects drawn from Fritsch’s private collection, this first retrospective of the ceramicist in 15 years presents a rare opportunity to see her works.
In her only in-person interview for her latest UK show, now at Fruitmarket, Edinburgh, the artist discusses the role of dreams and her spirituality in the narratives and atmospheres vividly evoked in her transcendental paintings.
Conceived and co-curated by Steve McQueen, this exhibition explores how a century of protest from 1903 to 2003 shaped Britain, and the vital part photography played.
This beautifully illustrated book considers the importance of the American painter and printmaker Mary Cassatt, who moved to Paris, spending time in the company of impressionists and influencing tastes in her native US.
At her studio in the World Trade Center, as she prepares for a solo show at Alison Jacques Gallery in London later this year, the artist talks about using space, surface and colour in her sculptures.
To accompany its exhibition Vanessa Bell: A World of Form and Colour, organised in partnership with Charleston, the MK Gallery held a one-day conference at which experts and enthusiasts discussed the pioneering painter and founder member of the Bloomsbury Group.
Speaking during rehearsals, Cheang and Hounwn reflect on the sources of inspiration for the project, on the developmental curve from its inception to its first full theatrical performance at Tate, what audiences might expect and what messages are being transmitted.
The Scottish artist’s astounding trompe l’oeil still lifes of artefacts inspired by the life and times of Sir John Soane integrate into the architecture of Pitzhanger Manor & Gallery, creating an engaging 18th-century Gesamtkunstwerk.
With work from 1875 to 1925 alongside medieval works, this exhibition considers how modern Nordic and northern European artists such as Käthe Kollwitz and Edvard Munch were influenced by the gothic aesthetic.
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Her subject matter may be serious – nationality, identity, migration and displacement – but the exuberance and joy in her sculptures and textile works shine through.
Rahman’s comfort zone is in the miniature, but with a vision that is hopeful not hellish, evoking the small and intimate moments of everyday lives, the people and houses bathed in deep, saturated colours.
A much-needed tonic after the fires laid us low, Frieze art week did take place, the city’s art community showed up and visitors poured in from across the globe. Although one of the four participating fairs (Spring Break) chose not to open, the unexpectedly charming Post-Fair, staged in a post office, did.
Foreteller of fate, conduit for common sense or magic? Tarot has been used as a tool for decision-making since the 15th century. A new show explores its Renaissance origins, its evolutions and adaptations and its enduring appeal for artists and acolytes.
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Challenging and shocking, the German artist fearlessly confronts his country’s Nazi past with grand political statements.
At the opening of her show at MASI Lugano, Gagliardi says she draws from Renaissance art and surrealism, film and TV as much as social media, to create digitally manipulated images and printed portraits and landscapes that express the isolation and seduction of our online lives.
