Nisenbaum is preparing for two exhibitions this year, one at Anton Kern Gallery in New York and one at Tate Liverpool. She was meant to be in the UK now, painting for the Liverpool show. She explains how she has instead had to adapt to working with her subjects via Zoom.
The artist talks about clay’s therapeutic and expressive qualities, and how her work helps her to explore and articulate feelings of social awkwardness and displacement.
Anish Kapoor’s postponed exhibition at Houghton Hall opens as lockdown eases in the UK.
The San Francisco-based, data-driven creative Shirley Wu has designed a scrolling mountainscape that maps data from Wikipedia to draw attention to Hong Kong’s female artists for the M+’s digital education platform.
The director of the Mori Art Museum in Tokyo explains how it has used its online presence and social media during the Covid-19 pandemic, and considers how this will shape the future of exhibitions and the funding of museums.
The artist talks about the inspiration of watery places, lockdown at her parents’ home and how motherhood has changed her as an artist.
Now in her late-80s, the Australian artist discusses how her love of Aboriginal art was sparked as a child, being influenced by the Scottish-born artist Ian Fairweather along with American, French and Chinese art, and being compared to Cy Twombly.
Known for performance art that mixes superheroes such as Spider-Man with the Gujarati traditions of his family, Patel explains why Eddie Murphy and The Simpsons influence him more than the arts and why he struggles to be seen as a British artist.
The artist talks about his project of documenting the Covid-19 pandemic and how his autism feeds into his work.
His text-based work Please Believe These Days Will Pass has formed a key part of the UK’s early lockdown landscape. Here, he talks about his process and the power of language – its ambiguity as well as our collective understanding – within specific contexts.
Schoeni discusses the challenges of curating an immersive group exhibition in a London townhouse during lockdown.
The Milan-based Japanese artist’s solo exhibition invites visitors to think about differing cultural values and associations held by societies.
The photographer talks about his love of landscapes, his instinctive composition, and that elusive somewhere you can never reach.
Taking our relationship with plants as its starting point, Camden Art Centre’s ambitious exhibition, now visitable as a digital platform, explores centuries of interconnection between physical, psychic and spiritual worlds.
The artist explains why he has painted a building in Folkestone in gold leaf and scrawled OK across it and talks about his forthcoming show of gold paintings done during lockdown, a period that spurred him on to great creativity.
Blandy talks about his new films, produced during lockdown and made to be viewed at home, his use of video games to produce art, and how his works, which deal with cultural appropriation, postcolonial legacies and racism, have turned out to be so prescient.
Szalay points to the injustices in society, and in her paintings of women bound and petrified as statues, dominated and controlled, the tension and fear are palpable.
The artist talks about her project Painting the Poets, comprising a growing collection of portraits of female poets, which she hopes to exhibit to provide a platform for, and raise awareness of, the importance of women’s voices.
The artists talk about their site-specific, timber and straw commission, MOTHER …, for Wicken Fen, Cambridgeshire, which offers visitors somewhere to sit and shelter and escape from their own heads.
An online exhibition of new net art critiques the digital networks we have become so reliant on during lockdown.
One of the most infamous YBAs returns to London and Sadie Coles with an exultant, expressive refinement of a seminal sculptural series.
Malani won the Joan Miró Prize last year and the resulting exhibition, You Don’t Hear Me, is now on in Barcelona. She has also just been awarded the first National Gallery Contemporary Fellowship. She explains why telling and retelling stories, often from a feminist perspective, has been at the core of her art.
Parks’s photographs of everyday life for black families in the 1950s and 60s lure the viewer in with their lush colours, only to reveal the toxic reality of segregation and racism – something that, 60 years on, still resonates.
The artist talks about his concern with expressing human vulnerability and encouraging empathy and connection.
An online exhibition at Hauser & Wirth serves as a fine reintroduction to one of the interwar avant garde’s great boundary-shattering figures.
The artistic director at the Museum of Contemporary Art in Tokyo was preparing a solo exhibition of Eliasson’s work when the museum shut because of Covid-19. She explains how a printed catalogue and an online talk saved the day.
This accessible and entertaining book by Richard Davey focuses on the 90-year-old artist’s long-forgotten sketches and works on paper and provides new insights into Whishaw’s career.
The artist talks about his strategies for thinking about painting, how his long-distance running is integral to his work, and the unexpectedly huge success of his #ArtistSupportPledge idea.
For an artist whose work is bound up with trauma and who suffered the devastating loss of 12 years’ work in a fire earlier this year, De Freston remains remarkably upbeat .
The Bulgarian-born artist famed for wrapping massive structures, great bodies of water and chunks of coastline died on Sunday at his home in New York, aged 84.