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Unknown maker, Phulkari early 20th-century (detail), Cotton with floss silk embroidery. © Bradford Museums and Galleries. Photo: Paul Tucker.
This fascinating and engaging exhibition puts the idea of female collectors at the heart of a social and cultural history of textiles
Luca Giordano, Self-Portrait, 1680. Oil on canvas, 46.8 x 35.3 cm. 
Stuttgart, Staatsgalerie, from the friends of the Staatsgalerie since 1969 © BPK, Berlin, Dist. RMN-Grand Palais/image Staatsgalerie Stuttgart.
An often thrilling exhibition at the Petit Palais asserts the mastery of the inescapable Neapolitan baroque painter, long regarded as an artistic jack-of-all-trades.
Louise Jopling. Phyllis, 1883. Oil on canvas, 52 x 44 cm. Russell-Cotes Art Gallery & Museum.
This is an ambitious exhibition that examines the legacy of the Pre-Raphaelite Brotherhood in Britain from the 1840s to the first world war and beyond, but though it is sometimes intriguing it does not live up to its promise.
Paul Mpagi Sepuya talking to Studio International at the opening of his exhibition at Modern Art, London, January 2020. Photo: Martin Kennedy.
While a quest to understand the myriad undefined potentials of queer social spaces is one factor behind Paul Mpagi Sepuya’s deconstruction of his portraits, primarily he seeks to interrogate the act of photography itself.
Installation view of Bloomberg New Contemporaries 2019 at South London Gallery. Photo @ studiostagg.
From Ryan Orme’s inventive form of urban landscape painting to Eleonora Agostini’s weird depictions of family life and Ben Yau’s deep-dive into the history of the 1973 military coup in Chile, here are some of the best from this year’s New Contemporaries.
Alison Carlier, January 2020. Photo: Amanda.
The artist, the first to win the Jerwood Drawing Prize for an audio piece, talks about the overlap between drawing and words, and explains what informs her practice.
Josef Herman. Transit Officer, 1941. Gouache on paper, 55.5 x 43.5 cm (21 7/8 x 17 1/8 in) framed. © The Estate of Josef Herman, courtesy of Flowers Gallery.
As part of the nationwide arts festival Insiders/Outsiders, this retrospective of the Jewish émigré artist brings to life his suffering and his search for a common humanity, epitomised in his paintings of Welsh miners returning home against the twilight sun.
Bernd and Hilla Becher. Blaenserchan Colliery, Pontypool, South Wales, GB, 1966. © Estate Bernd & Hilla Becher, represented by Max Becher, courtesy Die Photographische Sammlung/SK Stiftung Kultur – Bernd und Hilla Becher Archive, Cologne, 2019.
The Bechers’ austere photographs documenting industrial architecture across Britain, Europe and North America in the second half of the last century are a stark reminder of a lost world of labour.
Robert Holyhead, 2019. Photo: Andrew Smart, AC Cooper Ltd. Courtesy of the artist, and Galerie Max Hetzler, Berlin | Paris | London.
The artist discusses his new work, No Movement, No Colour, at Galerie Max Hetzler, London, and why, despite months of meticulous preparation, each oil painting must be finished in a single day.
Tau Lewis. Installation view, Art Basel Miami Beach 2019. Photo: Jill Spalding.
Hit the refresh button! Just as the fair that 17 years ago rebranded Miami as an art hub began sitting on its laurels, a series of concurring innovations has now rebranded the fair.
Lynette Yiadom-Boakye, Brothers to a Garden, 2017. Oil on linen. Lent by Lonti Ebers, © Lynette Yiadom-Boakye, courtesy of the artist, Jack Shainman Gallery, New York, and Corvi-Mora, London.
In this gem of a show a handful of Yiadom-Boakye’s paintings and etchings beckon you into their space, captivating you with their imagery.
Albert Reuss. Fence with Stripped Tree Trunks, originally: Fence and Branches, 1971. Oil on canvas, 63.5 x 76.2 cm. Collection of Newlyn Art Gallery.
The Jewish painter escaped Nazi persecution in his native Austria and moved to Cornwall, but his haunting art is testament to the mental torment that pursued him.
Francesco Vezzoli, Il Piacere (Isadora Duncan), 2019. Inkjet print on canvas, embroidery with metallic threads, fabric and costume jewellery, 43 x 34 cm. Photo © Courtoisie de l’artiste.
A diverting exhibition at Musée d’Orsay explores the influential art criticism of the quintessential decadent writer, helped – and hindered – by the contemporary Italian artist Vezzoli.
Ann Dumas in Giverny.
One of the UK’s leading curators, Dumas talks about women in the art world, the trials and triumphs of curatorial life, the differences between working in the US and the UK, and Van Gogh, Cezanne, Degas, and Picasso – the subject of her latest exhibition, about to open at the Royal Academy.
Isaac Julien. Encore II: (Radioactive), 2004. Super 8 and 16mm film transferred to digital, colour, 3 min. Installation view, Dundee Contemporary Arts, 2019. Photo: Ruth Clark.
In this truly hopeful, reflective group show, international artists explore alternative worlds and ways of living.
Pio Abad & Frances Wadsworth Jones. The Collection of Jane Ryan & William Saunders (detail). Twenty-four reconstructions of pieces from the Hawaii Collection, modelled from photographs taken by Christie’s. 3D printed plastic, brass and dry-transfer text, 2019. Courtesy of the artists. Photo: Chris Rohrer.
The London-based Filipino artist talks about The Collection of Jane Ryan & William Saunders, 3D replicas of some of the $21m haul of jewels amassed by Ferdinand and Imelda Marcos, and why the underlying narrative throughout this project is the act of grieving.
Ryan Gander, Looking for something that has already found you (The Invisible Push), 2019. Museum für Moderne Kunst (MMK). Photo: Axel Schneider.
Museum focuses on the history of institutional critique and its contemporary manifestations, but fails to scrutinise its own curatorial practices.
Paula Rego. Wife Cuts off Red Monkey's Tail, 1981. Acrylic on paper, 68 x 101 cm. Private collection. © Paula Rego, courtesy of Marlborough, New York and London.
Rego’s artworks are defiant and consuming. They depict suffering, oppression and cruelty, yet her figures consistently embrace it.
Thomas Struth. Chemistry Fume Cabinet, The University of Edinburgh 2010. Chromogenic print, 120.5 x 166 cm. Courtesy Marian Goodman Gallery. © Thomas Struth.
Whether he is photographing cityscapes, families, visitors to art museums or even Disneyland, Struth leaves nothing to chance, composing shots with a painter’s eye for detail.
VALIE EXPORT, 2019. Courtesy Galerie Thaddaeus Ropac, London | Paris | Salzburg. Photo: Ben Westoby.
The pioneering Austrian feminist artist talks about breaking taboos and provoking aggressive responses – in the 1960s and now – ahead of a reinstallation of her 1980 Venice Biennale works at London’s Galerie Thaddaeus Ropac.
Hans Haacke, Condensation Cube, 1963-65. Clear acrylic, distilled water, and climate in area of display, 12 x 12 x 12 in. Photo: Antonio Rivera.
Hans Haacke’s “All Connected” at the New Museum is a retrospective featuring his major kinetic, social and political artworks.
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