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Image of the exhibition galleries. Photo © Museo Nacional del Prado.
An exquisite exhibition at the Prado reveals the most joyous and serene of Italian artists as a pivotal figure in the development of the Renaissance
Michael Landy. Mate, what’s this shit?, 2019. Ink on paper, 35 x 84.1 cm (13 3/4 x 33 1/8 in). © Michael Landy. Courtesy the artist and Thomas Dane Gallery.
The sociologically inclined Landy is creating an exhibition marking the 50th anniversary of the Kaldor Public Art Projects. He discusses the challenges of reviving archival ghosts, his enduring fascination with artistic failures, and Kaldor’s doggedness in realising his ambitious scheme.
Leila Heller on opening night of her new gallery space at 17 East 76th Street.
Gallerist Leila Heller talks about showing Andy Warhol and Jean-Michel Basquiat in the 1980s, after meeting them in New York clubs, promoting artists from the Middle East, her current show curated by Warhol’s muse – and why she has just moved her gallery back to where it all began.
Serpentine Pavilion 2019, designed by Junya Ishigami, Serpentine Gallery, London © Junya Ishigami + Associates, Photo © 2019 Iwan Baan.
Perhaps this is an idea that looked good on paper, but with its dark slate roof and unstable-looking structure, Junya Ishigami’s pavilion is oppressive and unwelcoming.
Andermatt Concert Hall. Photo © Roland Halbe.
The Andermatt Concert Hall is a world-class auditorium, the first in the Swiss Alps, designed by architect Christina Seilern to help transform this former army town into a new destination for culture, as well as sport and tourism.
Alberto Giacometti in his studio, 1960. Photo: Rene Burri/Magnum Photos.
This remarkable show traces Giacometti’s artistic career, displaying his works alongside those of some of his contemporaries and making clear his belief that drawing was the basis of everything.
Maryam Najd at the opening of Botanic: National Amalgamation Project, Arthur M Sackler Museum of Art and Archaeology at Peking University, 2019. Photo: Arthur M. Sackler Museum.
Iranian artist Maryam Najd talks about her exhibition at the Arthur M Sackler Museum of Art and Archaeology in Beijing and why she chose to embark on a project researching the national flowers of the world.
Calder Stories, installation view, Centro Botín. Photo: Belén de Benito.
A major Alexander Calder exhibition at Centro Botín in Santander reveals about 80 of the great American artist’s unrealised projects. Hans Ulrich Obrist, curator of the show, discusses these little-known collaborative works, which highlight Calder’s interest in the world around him.
Koen Vanmechelen. Photo: Florian Voggeneder.
In a joint venture with the Belgian city of Genk, the artist Koen Vanmechelen has built a €22m ecological park that presents art as an instigator of community development.
Persia Reframed: Iranian Visions of Modern and Contemporary Art by Fereshteh Daftari, published by IB Taurus.
This is a valuable guide to the history of the reception of modern and contemporary Iranian art in the west, offering a broad outlook on cultural interactions between Iran and major American cultural institutions in the past three decades.
Ibrahim Mahama, Parliament of Ghosts. Installation view, Whitworth Art Gallery, Manchester, 2019. Photo: Veronica Simpson.
Through the use of old train seats and other salvaged materials, the Ghanaian artist tells a story of his country, rich with the legacy of colonialism, independence and lost opportunities.
Bartolomé Bermejo. Desplà Pietà, 1490. Oil on poplar panel, 175 × 189 cm. Barcelona Cathedral. © Catedral de Barcelona (Photo: Guillem F-H).
A display of paintings by Spanish Renaissance painter Bartolomé Bermejo forms a picture of religious upheaval and artistic excellence.
Documentation of the making of Assisted Self-Portrait of Kristel Asjoe, from Assembly (2013-2014) by Anthony Luvera.
Luvera is the editor of Photography for Whom?, a new journal focusing on community photography projects. Here, he talks about lesser-known works from a movement that began in the 1970s, as well as contemporary practices.
France-Lise McGurn. Photo: Tate Photography.
McGurn talks about motherhood, sleeplessness and strangeness in Glasgow, Berlin and Ibiza, and how they have fed into the work for her new exhibition at Tate Britain.
Milton Avery. Two Poets, 1963. Oil on canvas, 127 x 152.4 cm (50 x 60 in). Courtesy Victoria Miro, Venice.
Focusing on works done in the final four years of Avery’s career, these portraits depict the people and motifs closest to him.
Issy Wood, All The Rage, installation view, Goldsmiths Centre for Contemporary Art, 2019. Photo: Mark Blower.
Wood’s tragicomic paintings explore the apathetic alienation symptomatic of a networked, throwaway society, in which our understanding of ‘self’ is determined through the consumption of goods and images.
Terry Gilliam, Freud Analysed, 1969. Collage, airbrush and watercolour on card, 40 x 30.8 cm. Lent by the artist.
This show explores the ways in which collage has been used to create work that is, by turns, playful, chaotic, expressive and innovative.
Installation view of work by Wolfgang Laib, as part of Yorkshire Sculpture International, at The Hepworth Wakefield. Courtesy the artist and The Hepworth Wakefield. Photo: Nick Singleton.
A new international quadrennial across Leeds and Wakefield opens with an introspective first edition, which finds the sculptural in some surprising places.
Tess Jaray. Photo: Turkina Faso, 2019.
Jaray looks back at a career that has spanned more than 60 years and talks about the influence on her of American painting in the 50s and 60s, the importance of architecture and teaching at the Slade.
Olafur Eliasson in collaboration with Einar Thorsteinn. Model room, 2003. Wood table with steel legs, mixed media models, maquettes, prototypes, dimension variable. Installation view: Tate Modern, London. Photo: Anders Sune Berg, Moderna Museet, Stockholm. Purchase 2015 funded by The Anna-Stina Malmborg and Gunnar Höglund Foundation. © 2003 Olafur Eliasson.
There are nearly 30 years of work in this retrospective, so it is to be hoped that, despite the show’s crowd-pleasing, selfie-inducing tone, visitors take in Eliasson’s serious environmental messages.
Félix Vallotton, Self-portrait at the Age of Twenty (Autoportrait à l’âge de vingt ans), 1885. Oil on canvas, 70 x 55.2 cm. Musée cantonal des Beaux-Arts de Lausanne. Acquisition, 1896. Inv. 620. Photo: © Nora Rupp, Musée cantonal des Beaux-Arts de Lausanne.
The Royal Academy’s exhibition of Vallotton’s varied and strange work proves that some artists defy easy definitions.
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