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Barry Flanagan, installation view, Ikon, 2019. Courtesy The Estate of Barry Flanagan and Ikon.
The hare dominated his practice to such an extent that it is often all he is remembered for, but this comprehensive exhibition reveals the true breadth of Flanagan’s oeuvre
David Nash speaking to Studio International during the installation of his exhibition 200 Seasons at Towner Art Gallery, Eastbourne, 23 September 2019. Photo: Martin Kennedy.
The Welsh-based land artist talks of his early years, the evolution of his process, the importance of dialogue with materials and the need for his work to communicate the spirit and materials of its place.
Grayson Perry, My Perfect Life, 2019 (detail). Glazed ceramic. Photo: Veronica Simpson.
From the luxurious carpet depicting a homeless man to the Osprey handbag bearing the words ‘private school for my kids’, Perry is not afraid to lampoon the very people who buy his work.
Simphiwe Ndzube, In the Land of the Blind the One Eyed Man is King? 2019. Courtesy of the artist and Nicodim Gallery (Bucharest/ Los Angelos, Stevenson/ Cape Town).
The 15th Lyon Biennale has an ambitious theme and a vast new additional venue. But can it live up to expectations?.
Trevor Paglen: From Apple to Anomaly. Photo © Tim P. Whitby / Getty Images.
As he opens a new project at the Barbican Centre, the artist and critical geographer explains online image sets, surveillance culture and the return of human classification.
Maria Pasenau. Photo: Ida FIskaa.
The young Norwegian photographer talks about fear, red devils, graveyards and reinvesting photography with a sense of truth.
Garth Evans. Hollow Form No. 31, 2004–13. Ceramic, 37 x 63.5 x 45.75 cm. Image courtesy the artist.
You would probably learn more from a foot-high sculpture by Evans than the whole extravaganza that Antony Gormley is about to present at the Royal Academy.
AlanJames Burns, Creswell Crags Cave, Worksop, 2019. Photo: Martin Kennedy.
Burns guides us around the cave where his latest installation is taking place and explains that, historically, caves have played a vital role in the simultaneous evolution of consciousness and creativity.
Fiona Tan: Disorient, installation view, Gallery of Modern Art, Glasgow, 2019. Photo: Ruth Clarke.
Tan’s two-screen video installation is an unsettling look at the legacy of colonialism and a stark reminder that the west’s sense of superiority still persists.
David Batchelor, 2019. Photo: Lucy Dawkins. Courtesy of the Artist and Ingleby, Edinburgh.
Batchelor’s playful exploration of colour through sculpture, installation and painting pays tribute to the original Bauhaus movement while cleverly subverting it.
David Wojnarowicz with Tom Warren, Self-Portrait of David Wojnarowicz, 1983–84. Acrylic and collaged paper on gelatin silver print, 152.4 × 101.6 cm. Collection of Brooke Garber Neidich and Daniel Neidich. Photograph courtesy Museo Reina Sofia.
A comprehensive survey of the impassioned American artist and writer proves his relevance then and now, without stinting from the lows – as well as the highs – of his prodigious output.
Phyllis by Holly Hendry for Selfridges’ Art Block, London, 2018.
Just three years after leaving art school, Hendry has already had several high-profile shows. She talks about her love of problem-solving and manipulating materials and discusses her new exhibition at Yorkshire Sculpture Park.
E-Werk Luckenwalde, aerial view 2019.
It’s all about power – electricity and power relations – and this dynamic opening night for E-Werk Luckenwalde, curated by Block Universe, combined all varying aspects in an electrifying manner.
Mikhail Karikis. Photo: Stefan Schweizer.
Karikis has filmed children, teenagers, elderly female pearl divers and others on the margins on society. He talks about his aims and his latest project, at De La Warr Pavilion in Bexhill, which focuses on carers.
Antony Gormley, Matrix III, 2019. Approximately six tonnes of 6 mm mild steel reinforcing mesh, 7.1 x 9.3 x 15.15 m. Installation view, Antony Gormley, Royal Academy of Arts, London, 21 September – 3 December 2019 © the Artist. Photo: David Parry / © Royal Academy of Arts.
There is metal everywhere in this engaging exhibition, which contrasts the gigantic with the minuscule, but it is the drawings that steal the show.
Julie Cockburn, 2017 © Photo: Antonio Parente, Courtesy of Flowers Gallery.
At the opening of her latest show, Telling it Slant at Flowers Gallery, Cockburn talks about happy accidents, the labour that goes into her work and the simple joy of circles.
Alexander Tovborg. Photo: Oliver Bak.
The Danish artist mixes his paint with holy water. Here, he talks religion, irony and bringing mystery back into art.
Dóra Maurer. Seven Twists V 1979, printed 2011. Gelatin silver print on paper, 20.5 × 20.5 cm. Tate © Dóra Maurer.
This is a fascinating insight into the joyous experimental work of this Hungarian-born artist, who started out by subverting the cultural policy of her country’s socialist regime  .
Roger Palmer. Photo: Ellen Elmendorp.
Following an exhibition based on Robinson Crusoe and a new book of photographs of South Africa’s disused railway lines, Palmer’s latest projects are on Irish independence and Russia’s Kronstadt Mutiny. He explains how he chooses his subjects.
Image courtesy Nicoline van Harskamp.
Van Harskamp is a woman obsessed by language. Here she talks about people’s names, what she calls “linguistic biographies” and how languages evolve as people from different places speak them.
Part of Sol LeWitt Lignes en quatre directions et toutes leurs combinaisons, Bordeaux, Capc Musée d’art contemporain, 1983.
An exhibition of artists’ books, including works by Yves Klein, Andy Warhol and Thomas Hirschhorn, unfolds in three chapters.
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