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Now 80, Done says you should be fearless as you age and take more risks. Here he talks about why a good work is like a long-term relationship, collaborating on art with his grandchildren – and swimming with sharks
Robert Fitzmaurice and a visualisation of The Deity at Sandham Memorial Chapel. © the artist.
The artist talks about the work in his latest show, now postponed, his interests and influences – and how he is coping with lockdown.
Uffizi, Florence, website homepage, screenshot captured 15 May 2020.
As Italy tentatively enters a less restrictive phase of Europe’s longest lockdown, the leaders of three prominent art institutions consider the immediate effects and longer-term implications of a global calamity.
John Newling in his studio. Courtesy the artist.
Newling’s ecological artworks provoke questions about how we can work in harmony with nature and contribute to a sustainable future for all.
Nicolaes Maes, Girl at a Window, 1653–5. Oil on canvas, 123 × 96 cm. Loan from the Rijksmuseum. © Rijksmuseum Amsterdam.
The National Gallery charts the fascinatingly bisected oeuvre of Nicolaes Maes, whose early genre innovations were abruptly supplanted by his hugely successful career as a portraitist .
Jessica Mitchell, Untitled, 2019. Oil pastel and pencil on paper, 29.7 x 21 cm. Created as part of the ongoing Sour-Puss: The Opera collaboration with Diogo Duarte. © the artist.
This essay, comprising conversations with UK-based critics looks at the effects of the Covid-19 pandemic on their work and prospects.
The impact of Covid-19. Image by Martin Kennedy © Studio International.
In the final instalment of this five-part essay, comprising conversations with artists around the world, we look at the possible long-term effects of the Covid-19 crisis on the art world and the rise in online offerings.
The impact of Covid-19. Image by Martin Kennedy © Studio International.
In the fourth instalment of this five-part essay, comprising conversations with artists around the world, we look at the work artists have made in response to the coronavirus, and the prescient zeitgeist.
The impact of Covid-19. Image by Martin Kennedy © Studio International.
In the third part of this five-part essay, comprising conversations with artists around the globe, we look at the impact the pandemic – and imposed isolation – is having on them in terms of community and inner resilience.
The impact of Covid-19. Image by Martin Kennedy © Studio International.
This five-part essay, comprising conversations with multiple artists around the globe, looks at the far-reaching effects of the Covid-19 crisis on their livelihoods and practices, both negative, in terms of financial losses and future worries, but also lessons learned, communities built and new works inspired. Part one looks at the impact of cancelled shows and fairs.
Frederick Evans 1853-1943. Portrait of Aubrey Beardsley, 1893. Photo-etching and platinum print on paper, 11.5 x 16.5 cm. Wilson Centre for Photography.
In the largest exhibition of Beardsley’s drawings for 50 years, we see evidence of his exquisite practice and a dedication to drawing in a painfully short life and career.
Nanda Vigo speaking to Studio International in Milan, 4 September 2014. Photo: Martin Kennedy.
Nanda Vigo, the multifaceted protagonist of postwar European arts, has died in Milan aged 83.
Alexandra Daisy Ginsberg.
The coronavirus pandemic is a chance for people to ask how they can do better by nature, says Ginsberg, who talks about her work using artificial intelligence and technology.
Still from Give us a meow, 2019, HD video by Ben Toms and Urara Tsuchiya, 9 mins 3 secs.
With Scotland’s premier contemporary art biennial postponed to 2021, a digital programme of often timely film and sound pieces marks the festival’s original dates.
Helaine Blumenfeld, 2020. Photo © Sean Pollock.
The luxury corporate campus of Canary Wharf makes an unusual but strangely prescient setting for sculptor Helaine Blumenfeld’s biggest UK solo exhibition to date.
Leon Spilliaert, The Absinthe Drinker, 1907. Indian ink, gouache, watercolour and coloured chalk on paper, 105 x 77 cm. Collection King Baudouin Foundation, entrusted to the Fine Arts Museum of Ghent, Belgium, © Studio Philippe de Formanoir.
Ostend’s master draughtsman oscillates between retreat and escape, nocturnal and diurnal, imbuing the everyday with an eeriness.
Sam Haile, Woman and Suspended Man, 1939. © Manchester Art Gallery / Bridgeman Images.
This is a long overdue survey of the British contribution to the surrealist movement.
Video walkthrough of this group exhibition at Goldsmiths Centre for Contemporary Art narrated by curator Natasha Hoare.
Video walkthrough of this group exhibition at Goldsmiths Centre for Contemporary Art narrated by curator Natasha Hoare.
Andy Warhol. Debbie Harry, 1980. Private collection of Phyllis and Jerome Lyle Rappaport 1961. © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.
There is a great deal of death in this exhibition but, ultimately, it is an overwhelming lust for life that permeates every room.
Shailesh BR. Page Turner (Ulta Pulta), 2020. Kinetic sculpture with book and machine, 101 x 46 x 33 cm. Production Villa Arson, Nice 2020. Photo: François Fernandez / Villa Arson.
Three new solo exhibitions resulting from artists’ residencies at Villa Arson explore architecture, place, ritual and introspection.
From a drawing in illustration of Mr. Oscar Wilde's ‘Salome’ by Aubrey Beardsley (detail). In A New Illustrator: Aubrey Beardsley, The Studio, An Illustrated Magazine of Fine and Applied Art, Vol 1, No 1, April 1893, page 19. © Studio International Foundation.
This article was first published in The Studio, Vol 1, No 1, April 1893, pages 14–19.
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