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Noritaka Tatehana: Refashioning Beauty. Photo: GION.
Tatehana’s first solo US exhibition provides a new perspective on symbolism in traditional Japanese culture
Photo: Oliviero Toscani & Maurizio Cattelan.
After the commotion of the heist, the recently ended exhibition, Victory is not an Option, at Blenheim Palace and a new publicity stunt beg the question of where Cattelan might go next.
Leonardo: Experience a Masterpiece, National Gallery, London. Photo: 59 Productions.
This  immersive exhibition, which hopes to persuade viewers to look in depth at Leonardo’s The Virgin of the Rocks, provides insight into the artist’s technique and the story behind the painting.
Edmund de Waal. Photo: Nick Howard.
The British artist and author talks about his many exhibitions this year, including his work for the Venice Biennale 2019 in which he turned the idea of the ghetto into a place of hope and possibility.
Anthony Eyton by Sarah Eyton, 2019. © Sarah Eyton.
Now 96, remarkably the Royal Academician’s latest show is full of recent paintings, which Frank Auerbach has told him are his most original yet. He talks about his artistic practice, the influence of his mother’s work and how hard he finds it to finish a painting.
Sidsel Meineche Hansen, Welcome to End-Used City, 2019. Installation view, Chisenhale Gallery, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy the artist. Photo: Andy Keate.
From sex dolls to data harvesting, the artist lays the blame for the digital-human disconnect squarely at our door, with our increasing willingness to allow companies access to our personal data.
Garry Fabian Miller. There is no shadow, 2017. Light, oil, Lambda C-print from dye destruction print, 143.2 x 143.2 cm (framed). Courtesy of the Artist and Ingleby, Edinburgh.
Using early-19th century techniques, Miller works without a camera, experimenting with light to produce mesmerising and haunting images.
Kiki Smith, Cathedral, 2012. Jacquard tapestry © Kiki Smith. Courtesy Timothy Taylor, London/New York and Magnolia Editions.
From the dreamlike worlds of her colossal tapestries to her printmaking and the photographs in which she records her own sculptures, this show reveals the multiple threads that weave in and out of her rich, multidisciplinary practice.
Alan Davie. Glory, 1957. Oil paint on canvas. © The Estate of Alan Davie. Private Collection.
An exhibition of work by Alan Davie in Wakefield in 1958 was formative for the young David Hockney and the power of influence is foregrounded in this new exhibition.
George Stubbs, Whistlejacket, c1762. Oil on canvas. © The National Gallery, London.

MK Gallery’s generous survey confirms the Liverpudlian Leonardo’s position as one of the 18th century’s greatest artists, who matched anatomical exactitude with a proto-Romantic spirit.
Luigi Ghirri. Modena, TBD. Vintage c-print, 20 x 29.3 cm (7 7/8 x 11 1/2 in). © Estate of Luigi Ghirri. Courtesy the Estate, Matthew Marks Gallery, New York, Los Angeles, and Thomas Dane Gallery.
The haunting microcosm of north Italian suburbia as pictured by the matchless Luigi Ghirri is on display in this show at Thomas Dane Gallery.
Berenice Carrington. Photo: Herbert Palmer.
The artist, who describes her work as ethnographic drawing, explains how her practice began when she worked with Aboriginal people in Australia and draws similarities between that continent and Shetland, where she now lives.
Larissa Sensor. Photo: Lenka Rayn H.
The Palestinian artist unravels some of the layers of In Vitro, her science-fiction film now showing in the Danish Pavilion at the Venice Biennale, and relates it to our present – unsettling – reality.
David Smith. Field Work, 2019, Hauser & Wirth Somerset. Installation view. Courtesy The Estate of David Smith and Hauser & Wirth. Photo: Ken Allard. © 2019 The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), NY.
This is a compelling show that reminds us that, though known best for his welded-steel sculptures, Smith identified as a painter.
Kudzanai-Violet Hwami in her studio at Gasworks, London, 2019.
The Zimbabwe-born, London-based artist talks about her new work for her solo show at Gasworks in London and why her paintings for this year’s Venice Biennale almost reduced her to tears.
Lucian Freud. Reflection (Self-portrait), 1985. Oil on canvas, 55.9 x 55.3 cm. Private collection, on loan to the Irish Museum of Modern Art. © The Lucian Freud Archive / Bridgeman Images.
This exhibition of self-portraits across seven decades shows the artist at his most vulnerable.
Mark Bradford, A five thousand year old laugh, 2019. Mixed media on canvas, 182.9 x 243.8 cm / 72 x 96 in. © Mark Bradford. Courtesy the artist and Hauser & Wirth. Photo: Joshua White.
In his first exhibition at Hauser & Wirth London, the LA-based artist looks into the past to create an abstract art for the present.
Dame Laura Knight. Dancers, late 1920s. Drawing. © Reproduced with permission of The Estate of Dame Laura Knight DBE RA 2019.  All Rights Reserved. Photo: Royal Academy of Arts, London.
This small but delightful display, comprising largely sketches from the RA’s collection, beautifully illustrates the key themes of Knight’s working life: the countryside, the nude, and scenes from the theatre, ballet and circus.
Michael Simpson. Photo: Wolfgang Starr.
The artist discusses how going to a football match at the age of seven inspired him to start painting, his dislike of organised religion, his rigorous approach to his art and his current new work at Blain Southern.
Portrait of Michael Sherrill, courtesy of the artist. Photo: Scott Allen at Hang the Moon Photography.
Sherrill talks about his current retrospective at the Smithsonian’s Renwick Gallery, why he calls himself a “material-based artist”, being influenced by Matisse – and the joy of home-grown tomatoes.
Paul Gauguin, Self Portrait with Yellow Christ, 1890-1891. Oil on canvas, 38.1 x 45.7 cm. Musée d'Orsay, Paris. © RMN-Grand Palais (musée d'Orsay). Photo: René-Gabriel Ojéda
The National Gallery’s autumn blockbuster posits the troublesome post-impressionist firebrand as a revolutionary painter of portraits, concerned with himself even as he painted others.
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