Ellen Gallagher. Ecstatic Draught of Fishes, 2020 (detail). Oil, palladium leaf and paper on canvas, 248 x 202 cm (97 5/8 x 79 1/2 in). Photo: Tony Nathan. © Ellen Gallagher. Courtesy the artist and Hauser & Wirth.
Gallagher takes the viewer down into her watery world, where mythology, history and nature collide, in five new, visually compelling works
Chantal Joffe. Self-Portrait Naked with My Mother II, 2020. Oil on board, 243 x 181.5 cm (95 5/8 x 71 1/2 in). © Chantal Joffe. Courtesy the artist and Victoria Miro.
Joffe’s tender paintings of herself and her siblings with their mother evoke memories of family, motherhood and the process of ageing  .
Jean David Nkot. Courtesy AFIKARIS Gallery.
The artist talks about the development of his practice, and how he uses three distinct layers to add levels of meaning and interpretation to his human and territorial portraits.
Adrian Berg. Beachy Head 6th May, 1995. Oil on canvas, 76 x 122 cm. Image courtesy Frestonian Gallery.
Marco Livingstone’s lavish book is a tribute to one of Britain’s finest landscape painters and its publication is accompanied by an exhibition of Berg’s works at the Frestonian Gallery in London.
Nurturing Exhibitions, 2021. Six music compositions by Phill Niblock, soil and the Amanatsu orange sapling from Masanobu Fukuoka Natural Farm, wooden pedestals, speakers, wooden benches, wooden planter, acrylic case, water, sunlight. Photo copyright Nacása & Partners Inc / Courtesy of Fondation d’entreprise Hermès.
Copeland challenges the usual perceptions of what an exhibition should be. Here he explores the idea of the closed exhibition and considers how organisms, like art shows, change according to where they are sited.
Yu Ji. Flesh in Stone Ghost No 8, 2021. Cement, iron, plaster, wood, concrete, rocks, wax, wooden tables. Photo: Veronica Simpson.
The Chinese artist Yu Ji has salvaged construction debris from east London and Shanghai to create a ‘living sculpture’ installation using an intriguing palette of concrete, recycled wreckage and plant-infused water.
Reliquary casket showing the murder of Thomas Becket. Limoges, France, about 1180-1190. © Victoria and Albert Museum, London.
The British Museum tells the story Thomas Becket’s brutal murder and the cult of devotion his death inspired across Europe.
Photograph of the 'real' Alice Liddell, by Julia Margaret Cameron, 'Pomona', albumen print, 1872. © Victoria and Albert Museum, London
The V&A throws film, photography, prints, fashion, art and crockery into the mix to bring the origin story of Lewis Carroll’s book Alice’s Adventures in Wonderland to life, and explore its enduring impact on visual culture.
Tony Cragg, Houghton Hall, Norfolk. Photo: Martin Kennedy.
Tony Cragg’s alien sculptures land at Houghton Hall in Norfolk.
Barbara Hepworth at work on the plaster for Oval Form (Trezion), 1963. Courtesy Bowness. Photograph: Val Wilmer
The largest UK show of Hepworth’s work since her death in 1975, this unashamedly biographical consideration of her life brings together some of her most celebrated sculptures.
Veronica Ryan. Multiple Conversations (tea bag detail), 2019-21. Clay, seeds, pillow case, medical pillow, tape, elastic, coral, volcanic ash, doily, cocoa pod, other materials. Dimensions variable (28 individual pieces on shelf and on wall, shelf 129.9 x 30.8 x 12 cm).
After a residency prolonged by the pandemic, Veronica Ryan delivers a profound and playful selection of works, meditations on the everyday, lovingly recast and reconfigured to draw out new meaning and resonance.
Enough Is Definitely Enough: Sixty-Two Contemporary Artists Interpret a Postcard of Las Meninas by Andrew Bracey
As this captivating book shows, when Andrew Bracey asked 62 contemporary artists for their interpretation of Diego Velázquez’s Las Meninas, there are still plenty of fresh ideas about this 365-year-old work.
Charlotte Keates talking to Studio International about her work in the group show Just What Is It …? at Cristea Roberts Gallery, London. 2021.
The artist talks about her series of paintings in the group show Just What Is It …?, at Cristea Roberts Gallery, and how they draw on memories engaging all five senses.
Photograph of Agar wearing Ceremonial Hat for Eating Bouillabaisse, 1936. Private Collection © Estate of Eileen Agar/Bridgeman Images.
A packed retrospective of the surrealist fellow-traveller spirals off in all sort of directions, offering an argument for the spirit of play.
Jean Dubuffet. Caught in the Act (La Main dans le sac), September1961. Collection Van Abbemuseum, Eindhoven. © 2021 ADAGP, Paris/DACS, London. © Peter Cox, Eindhoven, The Netherlands
Dubuffet’s curiosity and playfulness with serious and complex ideas shines through in this show, which brings together more than 150 works from across four decades.
El Anatsui: Art and Life by Susan Mullin Vogel is published by Prestel.
Susan Mullin is both an expert on and a friend to the Ghanaian sculptor El Anatsui. This second edition of her must-read book expands on his incredible artistic practice.
Tahnee Lonsdale. Under The Shell, 2021. Oil on canvas. 55 x 50 in. © the artist. Courtesy of Cob Gallery
In this solo exhibition, Tahnee Lonsdale presents 12 large oil paintings, produced this year, that provide a meditative and emotive space in which to consider embodiment, togetherness and loss.
Walter Price, Pearl Lines (Installation view), 2021. Photo: Rob Harris
Price’s works reflect the instability and unpredictability of our times, with the themes of race and Covid running through much of the work, but it is nevertheless an exuberant show.
Ryoji Ikeda, Point of no return, 2018. © Jack Hems, 180 The Strand, 2021.
An ear-shredding, eye-rending survey of the audiovisual artist transforms data into engulfing experiences and fires up the mind.
Richard Hamilton, Adonis in Y-Fronts, 1963. Screenprint on paper, Pallant House Gallery, Chichester (Wilson Loan, 2006) © Richard Hamilton 2020. All rights reserved, DACS.
Key works and a wealth of fascinating archive material make this small show a must see.
Tate Britain Commission: Heather Phillipson: Rupture No.1: blowtorching the bitten peach 
© Tate photography (Oliver Cowling).
This show is a fully sensate experience, a meditation of sorts on the state of the world that turns the Duveen Galleries into a space to get lost in, physically and psychologically.
Auguste Rodin. The Kiss, 1901-4. Installation view, The Making of Rodin, Tate Modern, London 2021. Photo: Juliet Rix.
With about 200 items, including some of his best-known, most groundbreaking works, this exhibition delves into the sculptor’s thinking and processes of making.
Curator Mariam Zulqifar talking to Studio International about Bring Into Being at Chiswick House and Gardens, London, May 2021. Photo: Martin Kennedy.
Mariam Zulfiqar, the curator of an exhibition of art installations at Chiswick House, says it marks a new chapter for the English Heritage site.
Carlos Martiel - Mediterráneo, ​ 2017. Image courtesy Jorge M. Perez Collection / El Espacio23.
Miami Art Scene May 2021 – leading America’s obsessive, overdue, and necessarily over-weighted attention to diversity, the focus on Black Art has morphed from moment to movement.
Clare Woods, 2019. Courtesy artist and Simon Lee Gallery. Photo: Ben Westoby.
Woods talks about her new prints and collages, now on show at Cristea Roberts gallery in London, their relationship to her paintings, and finding a silver lining in the pandemic.
Lisa Brice, Untitled, 2021. Oil on tracing paper, 41.9 x 29.6 cm. Framed: 50.8 x 38cm. Copyright Lisa Brice. Courtesy the artist; Stephen Friedman Gallery, London and Salon 94, New York.
Charleston reopens with two exhibitions investigating the relationship between portraitist and model, placing forgotten modernist alongside contemporary hero.
Alex Da Corte: As Long as the Sun Lasts, installation view, Iris and B Gerald Cantor Roof Garden, Metropolitan Museum of Art, 2021. Photo: Lilly Wei.
This brightly coloured stainless steel, aluminium and fibreglass installation, depicting Sesame Street’s Big Bird swinging on a crescent moon, is just what is needed after a year of despair.
Julian Opie. Julian, 2013. Portrait: © Julian Opie. Photo: Alex Delfanne.
Julian Opie talks about travelling via Google Earth during lockdown, how colour blindness has shaped his work and his new show at the Lisson Gallery in London.
Dod Procter (1892-1972). Girl in Blue, 1925. Oil on canvas. Laing Art Gallery, Newcastle-upon-Tyne, UK / © Tyne & Wear Archives & Museums. © The Estate of Dod Procter / Bridgeman Images.
This exceptionally well-curated exhibition brings together four female artists, from a pivotal point in British social and art history, and explores how each, in her own way, challenged conventions and restrictions to become a successful painter.
Shara Hughes in her studio, 2018. Photo courtesy the artist.
The American artist Shara Hughes talks about the new paintings in her exhibition at the Garden Museum in London and the novelty of exhibiting in a church.
Rafael Pérez Evans, (sweet potato), 2019. © Rafael Pérez Evans.
The artist talks about growing up in a farming community in rural Spain, queer and rural shame, and the importance of reuniting living, thinking and making through a practice that disrupts.
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