His portraits consider the black, queer, male body from a personal perspective that is as informed by mythology and folklore as it is by everyday life. Shimoyama talks here about his new solo exhibition, Shh … at De Buck Gallery in New York.
In these new works, Mehretu plunges the viewer into her phenomenological, immersive methodology and her mark-making serves to release your own rich store of memories and associations.
With Declaration of Independence at the Baltic, Asante makes space for womxn of colour to relate narratives and reflect on the nature of independence.
Walker scours archives for images on which to base her drawings of black soldiers. She talks here as she creates a wall drawing for the show Protest and Remembrance at Alan Cristea.
With her detailed drawings of plants growing on the graves of Ireland’s excommunicates and other unblessed souls, De Búrca, now on show in Protest and Remembrance at Alan Cristea, hopes to restore the dignity of those the Catholic church abandoned.
Italy’s first all-digital history museum, M9, has opened across from Venice. With its sleek, ceramic-tiled buildings and inspired public spaces, its architect, Sauerbruch Hutton, has made quite a statement.
Boswell’s latest exhibition, The Space Between Things, which includes a video of her undergoing an eye operation, uses art as a way to connect with others whose wounds may otherwise remain unseen.
In Leung’s new installation, it is clear she has a point to make. Just what that point is, though, is not so clear.
Attia offers an impassioned critique of the enduring effects of colonialism. Central to the French-Algerian artist’s sculptures, installation, collages, videos and photographs is the idea of post-colonial repair, as both a physical and symbolic act.
Htein Lin was imprisoned for challenging the military dictatorship in Myanmar. Here, he talks about his time in jail and his sculptural installation A Show of Hands, a testament to former political prisoners, now on show at the Albright-Knox Art Gallery in Buffalo, New York.
Documentary photographer Martin Parr’s latest exhibition, Only Human, at the National Portrait Gallery, is all about us – us humans, but especially us British. Here, he talks about cake, collecting and Britain in the time of Brexit.
The Royal College of Physicians’ exhibition of anatomical illustrations, from medieval times to the present day, reveals the intersecting histories of medicine, art and politics, explains Under the Skin’s curator, Katie Birkwood.
Drawings by four contemporary female artists explore notions of protest and remembrance, from anti-Brexit marches to unconsecrated Irish burial sites, and forgotten black soldiers to former collieries in the north of England.
In Protest and Remembrance at Alan Cristea, with her large abstract works of plywood, acrylic gesso and graphite, Griffiths aims to capture the splendour of the working-class engineering at a former colliery.
This exhibition shows 40 years of work made by master printmaker Kip Gresham in collaboration with some of the best-known artists from Britain and beyond.
The Kenyan-born artist’s lustrous ceramics become the anchor for a voyage through three millennia of objects and artworks.
For the 350th anniversary of Rembrandt’s death, the Rijksmuseum is staging a once-in-a-generation exhibition – 22 paintings, 60 drawings and 300 prints. It is extraordinary, revealing, inspiring – and a little overwhelming.
Swartz talks about Joy, Still, her site-specific sound installation at Grace Farms, and how the multi-use centre in Connecticut, designed by the Japanese-based firm Sanaa, became her instrument.
The Austrian sculptor, famed for sheathing social commentary in comic forms, talks about absurdity, handicraft, the mass media and the future.
This show celebrates the centenary of the founding of the Bauhaus, guiding you through the fascinating history of a movement that still has enduring relevance.
From historical displays to recent works by relatively unknown artists, from performance to installation, from politically provocative and conceptual pieces to ornamental presentations, this year’s Armory presented a well-measured display of opposing – even conflicting – trends within the art world .
Hew Locke discusses monarchy, nationhood, bigotry, boats, Brexit and the seductive silliness of TV’s historical dramas, before the opening of his show at the Ikon Gallery, Birmingham.
With work from artists from South Korea, Europe and the United Arab Emirates, this exhibition considers the nation state and the geopolitics of globalisation.
In her depictions of mass protests, Gerrard aims to make visible those who attend. For Protest and Remembrance at Alan Cristea, she focuses on anti-Trump and anti-Brexit marches.
Drawing on materials Tschichold collected, this exhibition traces his influence on graphic design between the world wars and his belief that design was a force for social change.
In 2007, the formidable art collection of Achille Maramotti, the man behind the Max Mara fashion house, was opened to the public. Sara Piccinini, senior coordinator of the collection, talks about the history of the collection, and the thinking behind its first rehang.
This exhibition of new work is more pared back than we have come to expect from Barlow. Her aim, she says, is ‘to come back to what is essential’.
The neo-avant-gardist recalls cold war isolation, his enduring commitment to geometric abstraction, and the importance of maintaining Hungarian traditions in his art.
Through site-specific installations, this visually splendid exhibition explores the role of the artist’s studio in contemporary practices.
Harald Sohlberg’s paintings of Norwegian houses and snowy mountains are saturated with colour and mystery, making Dulwich Picture Gallery’s exhibition of his work the perfect way to see out the winter months.