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David Reed: New Paintings, 2019, installation view. Artwork © 2020 David Reed/Artists Rights Society (ARS), New York. Photo: Rob McKeever. Courtesy Gagosian.
In his second solo show with Gagosian, Reed displays his many strengths in 15 new and impressive works
Jan and Hubert van Eyck. The Adoration of the Mystic Lamb, 1432 (detail). Oil on panel. Saint Bavo’s Cathedral, Ghent. © www.lukasweb.be - Art in Flanders vzw.
Celebrating the first stages of restoration of the Ghent Altarpiece, as well as the incredible academic knowledge, innovation and artistic precision of the first learned painter in northern Europe, this once-in-a-lifetime exhibition brings together half of Jan van Eyck’s known works.
William Wissing. Queen Anne, when Princess of Denmark, c1685. Oil paint on canvas, 199.4 x 128.3 cm. National Galleries of Scotland, Edinburgh.
The Tate’s first survey of Britain’s late-17th-century art is a misshapen pearl, often glimmering but curiously uneven.
Ernst Ludwig Kirchner. Japanisches Theater [Japanese Theatre], 1909. Oil on canvas, 113.7 x 113.7 cm. National Galleries of Scotland. Photo: Antonia Reeve.
This is a small but moving display that, 75 years after the Holocaust, reminds us of the need for courageous art.
Christine Rebet talking to Studio International at the opening of Time Levitation, Parasol unit, London, January 2020. Photo: Martin Kennedy.
Studio International spoke to Rebet at the opening of Time Levitation, her first solo show in the UK, at Parasol unit, London.
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.
Portrait of An-My Lê. John D. & Catherine T. MacArthur Foundation.
Photographer An-My Lê talks about her project Silent General and the personal and political tensions that run though her work.
Daniel Arsham in his studio. Photo: Guillaume Ziccarelli. © Courtesy of the artist & Perrotin.
Deities and emperors decay and crystallise in the American artist-designer’s enjoyable exhibition at Perrotin Paris.
Tony Lewis: The Dangers (As Far As I Can See), installation view, Massimo De Carlo, Milan / Belgioioso, 22 January – 14 March 2020. Photo: Roberto Marossi. Courtesy Massimo De Carlo, Milan/London/Hong Kong.
The artist explains the lengths he must go to in order to create his signature graphite ‘floor drawings’ and talks about his latest exhibition, at Massimo de Carlo, Milan, based on the legendary 1965 Cambridge debate about race between James Baldwin and William F Buckley Jr.
Darren Waterston talking to Studio International ahead of the opening of his installation Filthy Lucre: Whistler’s Peacock Room Reimagined, at the Victoria & Albert Museum, London. Photo: Martin Kennedy.
Studio International spoke to Waterston ahead of the opening of his installation Filthy Lucre: Whistler’s Peacock Room Reimagined, at the Victoria & Albert Museum, London.
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.
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