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Allan Sekula: Photography, A Wonderfully Inadequate Medium

A career-spanning presentation of the late photographer and theorist shows an artist redefining the capabilities of his medium

Allan Sekula, Long Beach Notes, 1980. Four parts, commercial postcards on cardboard, dymo type. Courtesy the artist and Marian Goodman Gallery New York, Paris and London.
Laura Buckley.
Buckley talks about her sculpture and video Fata Morgana, currently on show at the Saatchi Gallery, using her work as a catharsis for difficult times – and the pros and cons of the Instagram moment.
Emma Kunz at her working table, Waldstatt, 1958. Photo copyright Emma Kunz Centrum.
Kunz was a spiritual healer who saw her drawings – all done with crayons and pencil on graph paper and some aided by divination with a pendulum – as part of her research-led practice.
Ronny Sen.
Sen talks about photographing the out-of-control fires burning underground in the coal mines of Jharia, India, how he ensures every image has something it reveals and something it hides, and the death of Kolkata.
Joan Semmel. Untitled, 2016. Oil crayon on paper, 11.63 x 15.63 in. Courtesy the artist and Alexander Gray Associates, New York.
With 120 artists to choose from, this drawing show is stuffed with treasures. There is something here for everyone.
David Austen in his studio. Photo: Ben Stockley.
On the occasion of Underworld, a new exhibition at Dundee Contemporary Arts, the artist talks about writers who have influenced him, from Camus to Dr Seuss, his recurring dream of being chased by a naked lizard woman, and why he doesn’t think his work would bring peace to anybody.
David Hockney painting May Blossom on the Roman Road, 2009. © David Hockney. Photo: Jean-Pierre Gonçalves de Lima.
For those hoping to see the shared sensibilities and sensitivities of two of the world’s most famous artists, disappointment may be in store: the similarities explored are mostly superficial and the exhibited work is 90% Hockney.
John Ruskin. Study of Moss, Fern and Wood-Sorrel, upon a Rocky River Bank, 1875-79. Pen, ink, watercolour and bodycolour on paper. © Collection of the Guild of St George / Museums Sheffield.
Marking the bicentenary of Ruskin’s birth, this exhibition, the first of many across the UK this year, celebrates the artist-critic-collector’s intentional legacy, the Guild of St George, and his lessons in using looking and drawing as conduits to understanding.
Devon Shimoyama, Miles, 2019. Oil, acrylic, colour pencil. jewellery, Flashe, glitter, collage, sequins and fabric on canvas
stretched over panel, 60 x 48 in (152.4 x 121.9 cm). Image courtesy De Buck Gallery, New York.
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.
Julie Mehretu. Monotype #19, 2018. Monotype with printer ink and occasional acrylic on Hahnemuhle Copperplate 300gsm, 55.9 x 73.7 cm. © Julie Mehretu. Photo © Rebecca Fanuele.
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.
Barby Asante: Declaration of Independence, 2019. BALTIC Centre for Contemporary Art. © 2019 BALTIC.
With Declaration of Independence at the Baltic, Asante makes space for womxn of colour to relate narratives and reflect on the nature of independence.
Henry Moore, Reclining Male Nude, c1922. Drawing. Reproduced by permission of The Henry Moore Foundation. © The Henry Moore Foundation. Photo: Michel Muller.
Although Henry Moore is best known as a sculptor, drawing was critical to his artistic practice. This exhibition is the largest of Moore’s drawings in more than 40 years.
The Shed, New York, by Diller Scofidio + Renfro, lead architect and Rockwell Group, collaborating architect. Photo: Miguel Benavides.
Pioneering and Olympian, a $475m arts centre anchoring the south end of a shiny new enclave on Manhattan’s Lower West Side hopes to reach a broader community with immersive, intuitive and groundbreaking programming. Can emerging art thrive in such weighted space?.
Jos Tilson. Photo: Nick Howard.
Tilson has combined the ancient craft of hand-weaving with the language of modern art alongside an obsessive approach to sculptures in clay. She talks here about Italy, her passion for architecture and what’s wrong with the #MeToo campaign.
Jenny Holzer: Thing Indescribable, Guggenheim Bilbao. Photo: Veronica Simpson.
This overarching retrospective covers Holzer’s 40 years as an artist activist, from her printed slogans on T-shirts and condom-wrappers to LED and kinetic sculptures.
Leon Kossoff, Self-Portrait, 1971. Oil on canvas, 27.9 × 22.9 cm. Private collection, Europe. Copyright Leon Kossoff. Image courtesy Piano Nobile, London.
A career-spanning exhibition of the London artist confirms his status as the quintessential painter of the capital’s inner peripheries.
Equilibrium. An idea for Italian sculpture, installation view, Mazzoleni, London, 8 February – 5 April 2019. Photo courtesy Mazzoleni London Torino.
A striking exhibition presents works that examine and play with the notion and execution of equilibrium in a multifarious array of sculptural forms.
Brazilian film-maker and theatre producer Matheus Parizi.
Parizi talks about the current right-wing climate in Brazil, cuts to funding for the arts, and his new short film First Act, which he made as a direct response to the political events in his country.
Online Dating Profile Picture, Hey Saturday, London, England, 2016. Image courtesy Saskia Nelson, Hey Saturday.
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.
Illustration of the internal organs and acupuncture points in Shishi bessho zui. Hozumi Koremasa, 1820s. © Royal College of Physicians.
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.
Studio International spoke to Miriam de Búrca, Joy Gerrard, Mary Griffiths and Barbara Walker ahead of the opening of the exhibition Protest and Remembrance at Alan Cristea Gallery, London, 2019. Photos: Martin Kennedy.
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.
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