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William Kentridge: Thick Time

This remarkable show offers six of the South African artist’s most potent installations – and si...

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Ed Moses: Painting as Process

In the still eye of the swirl of the happening art that opens Manhattan’s autumn season stands a s...

The EY Exhibition: Wifredo Lam

He fought in the Spanish civil war, was exiled from France by the Nazis and returned to his native C...

Douglas Kotwall: ‘We want to incubate young, contemporary Chinese artist...

Kotwall, a senior member of the K11 Art Foundation, talks about the ethos and goals of the organisat...

Guan Xiao: ‘I am learning about humour. It is a precious quality’

The artist talks about how the digital revolution has influenced her work, the roles of text and hum...

Nan Goldin: The Ballad of Sexual Dependency

The record, begun in the 1970s, of a 15-year period in Goldin’s life, is grounded in a specific pl...

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Peter Cain

This retrospective exhibition displays Cain’s huge, forensic paintings of cars, strangely truncate...

Amy Franceschini: ‘It’s kind of simple: I want to be alive and I want ...

The artist talks about her upbringing in the breadbasket of America, and how this taught her about t...

Sean Scully: ‘The stripe can do anything in any direction, and since it ...

The abstract artist talks about why he changed his style so radically in the 1980s, the influence of...

Conrad Shawcross: ‘It’s created a skin for the surface of this buildin...

The artist explains his use of the moiré effect in designing an optical cloak for a tall industrial...

Jess Johnson: ‘My work is a visual stew’

The fantastical world of Jess Johnson has arrived in Edinburgh, in the artist’s first solo exhibit...

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Clare Jarrett: ‘It’s almost as though the work is already there somewh...

The Norwich-based artist talks about her recent residency at the Barbershop in Norwich, and her prac...

Cyril de Commarque: ‘I believe in a new renaissance of thinking’

The French artist has converted a grain barge into an artwork to sail the Thames, blasting out a sou...

Forest of Expression: Art as a Communal Act

Eight projects explore how art and expressing ideas and emotions can help those on the fringes of so...

History Machines by Donovan & Siegel

Toronto-based artist couple Matt Donavan and Hallie Siegel explore the history of changes in communi...

Jeffrey Gibson: ‘I was so angry I washed my canvases in the laundromat’

The artist talks about being any angry young artist, his earlier determination not to be viewed as a...

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Mårten Lange: ‘I wanted to make a story about something beyond the reac...

The photographer talks about his lifelong fascination with prehistory and his latest photobook, Chic...

Paul Carter: ‘There’s an invitation that only takes you so far’

Entering the gallery, visitors enter a new world – a liminal space, with an empty lift, piss-stain...

Li Huasheng: ‘A line is nothing. When I paint a vase, its outline does n...

The Chinese artist is admired for his abstract ink paintings. Here, he explains how a visit to the U...

Megan Rooney: ‘My mother taught me how to be a maker’

The artist talks about working with clay, birdseed, lipstick and papier-mache and about excess, drau...

The Ars Electronica Festival 2016: Radical Atoms and the Alchemists of our...

This year’s festival includes more than 30 exhibitions, around 20 concerts and visual art and soun...

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Judith Wechsler: ‘Film allows, even invites, inclusivity of media. It’...

The American film-maker and art historian discusses her remarkable body of documentaries on art, inc...

Regine Bartsch: ‘I’m drawn to these places where many people have live...

In her studio in southern Ireland, the German-born artist spoke about her recent exhibition and resi...

Noble Prospects: Capability Brown and the Yorkshire Landscape

To mark the 300th anniversary of the birth of the great 18th-century landscape gardener, this exhibi...

Katie Schwab: ‘I like the idea that works can begin to generate their ow...

Keen to learn traditional, craft-based skills, the artist explains why she is drawn to processes whe...

SFMOMA’s extension: a new visual vocabulary

With Snøhetta’s new building now open, SFMOMA has more exhibition space than Manhattan’s MoMA, ...

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Xu Yong: ‘Negatives act as witness’

Twenty-five years after Tiananmen Square, the Beijing-based photographer took the brave decision to ...

Setouchi Triennale 2016

Once every three years, the islands of Japan’s Seto Inland Sea are transformed by an influx of art...

Kienholz: Five Car Stud

Even with its harrowing subject matter, Edward Kienholz’s controversial civil rights work deserves...

The Neo Naturists

Disaffected by the politics of Thatcherism and an art world overtaken by masculine neo-expressionism...



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