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William Holman Hunt. Afterglow in Egypt, 1854 (detail). Oil on canvas, 185.4 x 86.3 cm. Southampton City Art Gallery.
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
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.
Meryl McMaster.
McMaster, who often transforms herself into hybrid  animal-human creatures for her photographs, discusses her show, As Immense as the Sky, at the Ikon Gallery, and how her mixed European and Plains Cree ancestry feeds into her work.
Norman Cornish. Gantry at Night, undated. Pastel on paper, 53 x 74 cm. © Courtesy of Norman Cornish Estate.
The son of the artist Norman Cornish, whose work is synonymous with mining life in the County Durham town of Spennymoor, looks back at his father’s life and artistic legacy.
Saad Qureshi, Something About Paradise, 2019 (detail). Courtesy the artist and Yorkshire Sculpture Park. Photo © Jonty Wilde.
Step into a fantastical dreamworld as you explore Qureshi’s mindscape inspired by stories British people have told him of how they imagine paradise.
Marc Chagall. The Trampled Flowers, illustration for the publication Daphnis and Chloe, 1961, lithograph. Private collection. © ADAGP, Paris, 2019.
This colourful exhibition explores the influences of the Hellenic world and its Bacchanalian myths on the Jewish artist of folklore, circus, and biblical tales.
Francesco Clemente, Musica da camera IV, 1994. Pastel on paper, 26 3/8 x 19 in (67 x 48.3 cm). Collection of the artist, New York. Courtesy of Francesco Clemente Studio. Photo: Tom Powel Imaging.
A career-spanning selection of pastels by the transavantguardia stalwart is best when at its most whimsical and extempore.
Vivian Suter, Nisyros (Vivian’s bed), 2016–17. Oil, pigment, and fish glue on canvas and paper, and volcanics, earth, botanical matter, microorganisms, and wood, 110 x 86 cm. © Courtesy of the artist and Karma International, Zurich and Los Angeles; Gladstone Gallery, New York and Brussels; House of Gaga, Mexico City; and Proyectos Ultravioleta, Guatemala City.
The Swiss-Argentine artist’s first exhibition in Britain is fragrant, sensorial and enigmatic in expression.
Portrait of Alfredo Jaar. Image courtesy of Goodman Gallery.
As his seminal Rwanda Project is revived at London’s Goodman Gallery, the Chilean artist and architect speaks on inculcating empathy, the difficulty of representing real-world tragedy and the malaise of the contemporary media.
David Bomberg. Study for In the Hold, c1914. Charcoal on paper, 54.8 × 65.4 cm. Tate, London. Presented by the Friends of the Tate Gallery 1967. © Tate.
This disappointingly limited exhibition does little to uphold the promised insight into the influence of the old masters on Bomberg’s work.
Studio Malka Architecture, The Green Machine, 2014. Architecture project. Courtesy of the artist.
This Royal Academy exhibition addresses a planet in a state of emergency with a range of artists and architects’ speculative responses to our manmade environmental crises.
Dora Maar. Untitled, c1980. Photograph, gelatin silver print on paper, 30 x 23.7 cm. The J. Paul Getty Museum, Los Angeles. © ADAGP, Paris and DACS, London 2019.
This fascinating exhibition explores the long and varied career of the surrealist photographer and shows that her work went far beyond her links to Picasso.
Angelo Plessas. Karma Dome, 2019. Installation view, The Extended Mind, 2019. Image courtesy Talbot Rice Gallery, The University of Edinburgh.
This fascinating show explores the mind and how we think through our connections with other people, things and places.
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