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Natalia Millman – interview: ‘I want to talk about grief in an approachable way’
Natalia Millman. Photo: Stephanie Belton.
Inviting others to write a letter about their grief, and responding to each with a drawing, was the starting point for Natalia Millman to process her own loss
Jean-François Millet, The Wood Sawyers, 1850-52. Oil on canvas, 57 x 81 cm. Victoria and Albert Museum, London. Bequeathed by Constantine Alexander Ionides (CAI.47). © V&A Images / Victoria and Albert Museum, London.
A fine-tuned pocket survey celebrates the influential French realist painter, who imbued scenes of rural life with monumental stature.
Ernest Edmonds. Courtesy of Gazelli Art House. Photo: Deniz Guzel.
On the occasion of Networked, his show at Gazelli Art House, London, the pioneering computer artist talks about his practice over the past 60 years and his latest work, Quantum Tango – and offers advice to artists wanting to follow in his footsteps.
Koo Jeong A, x Wheelscape, Evertro, 2015. Liverpool Biennale, UK. Photo: Gareth Jones.
A skating ramp, an invitation to paint the floor, a glowing tent-like structure – this ambitious joyful exhibition carves out a place in art history for work made for children.
Ten Sculptures by Tim Scott 1961-71 by Sam Cornish, published by Sansom & Co.
A thorough introduction to and overview of a fascinating artist who has been far too overlooked. The focus on this decade brings to the fore Scott’s paradoxical sculptures and horizontal Brâncuși-ism.
Céline Condorelli, Dedication (To The Sea, To The Sea). Folkestone Triennial, 2025. Photo: Lia Toby/PA Media Assignments.
Sorcha Carey’s first outing as curator of the Folkestone Triennial turns its sixth iteration into a subtle but no less powerful meditation on this distinctive coastal terrain, and the impacts of climate and human activity here and further afield.
Pat Steir: Song, installation view, Hauser & Wirth Zurich,, 13 June – 13 September 2025. © Pat Steir. Courtesy the artist and Hauser & Wirth. Photo: Jon Etter.
New paintings by the American artist, now 87, make their debut in this exhibition in Zurich.
Lubaina Himid with Magda Stawarska: Another Chance Encounter, installation view, Kettle’s Yard, Cambridge, 12 July – 2 November 2025. Photo: Jo Underhill.
Drawing on correspondence between the writer Sophie Brzeska and the artist Nina Hamnett as well as Himid and Stawarska’s interactions with one another, the artists’ wit and ingenuity shines through.
Seulgi Lee, Slow Water, 2022. Installation view, Ikon Gallery, 2025. Image courtesy Ikon. Photo: David Rowan.
Collaborating with craftspeople from around the world, Lee incorporates traditional techniques into elegant works that engage the eyes and the imagination.
Mika Rottenberg, 2018. Photo: Miro Kuzmanovic. © Kunsthaus Bregenz. Courtesy the artist and Hauser & Wirth.
The multidisciplinary artist talks about her first solo exhibition in Spain, at Hauser & Wirth Menorca, and discusses the importance of materials, how her works develop in dialogue with her thoughts and visions, and why she no longer blurs fact and fiction.
Left: Max Liebermann, Portrait of  Prof. Dr. Carl Bernstein, 1892. Oil on cardboard, Private Collection, Switzerland. © SIK-ISEA, Zurich. Photo: Philipp Hitz. Right: Felicie Bernstein as Bride, 1872. © Stiftung Stadtmuseum Berlin.
This small but insightful show puts the spotlight on a microcosm within Berlin’s art world at the turn of the 19th century by presenting the art collectors Felicie and Carl Bernstein and their contribution to establishing French impressionism in Germany.
Emma Talbot. Photo © the artist.
Large installations, paintings on silk, fabric sculptures and drawings convey the connection between the specific and the universal and between life and death. Talbot tells us how myth, tragedy and politics colour her magical world.
It Takes a Village, installation view, Ditchling Museum of Art + Craft, East Sussex, 5 July 2025 – 1 February 2026.
To mark its 40th birthday, Ditchling Museum of Art + Craft is hosting an exhibition all about reaching out: within its collection to rarely exhibited objects; to villagers past and present; to those with access or sensory needs; and to survivors of abuse, with a mind to sensitively and informedly displaying its Eric Gill works.
Mike Nelson: Humpty Dumpty: a transient history of Mardin earthworks: low rise, installation view, Fruitmarket, Edinburgh, 2025. Photo: Ruth Clark.
From the architecture of an old hilltop city in Turkey to the demolished Heygate Estate in south London, Nelson’s interest in entropic landscapes weaves through this exhibition like a guiding thread.
Jenny Saville, Hyphen, 1999. Oil on canvas, 274.3 x 365.8 cm. Private Collection, courtesy of Gagosian. © Jenny Saville, Courtesy Gagosian.
This astounding show brings together the very best of an incomparable artist: absorbing, transcendent, sublime.
Assembly, Margaret Salmon, The Hunterian, 2025. Photo: Ruth Clark.
From a mother bathing her children to cleaners working at the gallery, Salmon gives voice to a diverse group of residents in Glasgow’s Maryhill and Kelvinside –work that, for me, has a personal poignancy.
Slavs and Tatars, Simurgh Self-Help, installation view, Esea Contemporary, Manchester, 2025. Photo: Jules Lister.
Rapping fruit, legendary birds and nail art feature in the UK debut of the Berlin-based collective Slavs and Tatars.
Sheila Hicks, Grand Boules, 2009. Liverpool Biennial 2025 at Tate Liverpool + RIBA North. Photo: Mark McNulty.
From Sheila Hicks’s gemstone-like sculptures to Elizabeth Price’s video essay on modernist Catholic churches, 30 artists respond to the theme of this year’s Liverpool Biennial, ‘bedrock’.
Mikhail Karikis talking to Studio International at the opening of Songs for the Storm to Come at The Showroom, London, 2025. Photo: Martin Kennedy.
Karikis explains the ideas behind his new sound and video installation calling for action against climate change, on which he has collaborated with the SHE cooperative choir for women and non-binary people.
Installation view, Art & The Book at The Warburg Institute, London, 22 May – 2 August 2025. Courtesy The Warburg Institute.
Two concurrent exhibitions bring special collections into broader spaces of circulation, highlighting print’s enduring role as a medium of collective expression and firmly placing a new era of zine-making and independent, small-press publishing within a radical multigenerational continuum.
May Morris: Art & Advocacy, installation view, Russell-Cotes Art Gallery & Museum, Bournemouth,
5 April – 5 October 2025. Photo: Eliza Naden.
Focusing on the skills of wallpaper design and embroidery, this exhibition tells the story of the “remarkable” woman at the helm of Morris & Co.
Daphne Wright. Sons and Couch (detail), 2025. Jesmonite, Photo: Jed Niezgoda, Courtesy the artist and Frith Street Gallery, London and Ashmolean Museum, University of Oxford.
This show is a celebration of the domestic, and the poignant sculpture of Wright’s two sons, now on the cusp on adulthood, dominates as the Irish artist explores memory, identity, life and death.
Anna Boghiguian The Sunken Boat: A glimpse into past histories, 2025. Installation view, Courtesy Turner Contemporary. Photo: Thierry Bal.
The venerable Egyptian Canadian installation artist brings shipwrecks, shells and the sound of the sea to Margate’s Turner Contemporary.
Alice Adams, Sheath, 1964. Cotton cord on cotton rope, 11.4 × 35.6 × 7.6 cm. Collection of Beth Rudin DeWoody. © Howcroft Photography, Boston.
A groundbreaking New York show from 1966 is brought back to life with the work of three women whose experimentation with materials and visualisation turned sculpture inside out.
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