Enough Is Definitely Enough: Sixty-Two Contemporary Artists Interpret a Postcard of Las Meninas by Andrew Bracey
As this captivating book shows, when Andrew Bracey asked 62 contemporary artists for their interpretation of Diego Velázquez’s Las Meninas, there are still plenty of fresh ideas about this 365-year-old work
Charlotte Keates talking to Studio International about her work in the group show Just What Is It …? at Cristea Roberts Gallery, London. 2021.
The artist talks about her series of paintings in the group show Just What Is It …?, at Cristea Roberts Gallery, and how they draw on memories engaging all five senses.
Photograph of Agar wearing Ceremonial Hat for Eating Bouillabaisse, 1936. Private Collection © Estate of Eileen Agar/Bridgeman Images.
A packed retrospective of the surrealist fellow-traveller spirals off in all sort of directions, offering an argument for the spirit of play.
Jean Dubuffet. Caught in the Act (La Main dans le sac), September1961. Collection Van Abbemuseum, Eindhoven. © 2021 ADAGP, Paris/DACS, London. © Peter Cox, Eindhoven, The Netherlands
Dubuffet’s curiosity and playfulness with serious and complex ideas shines through in this show, which brings together more than 150 works from across four decades.
El Anatsui: Art and Life by Susan Mullin Vogel is published by Prestel.
Susan Mullin is both an expert on and a friend to the Ghanaian sculptor El Anatsui. This second edition of her must-read book expands on his incredible artistic practice.
Tahnee Lonsdale. Under The Shell, 2021. Oil on canvas. 55 x 50 in. © the artist. Courtesy of Cob Gallery
In this solo exhibition, Tahnee Lonsdale presents 12 large oil paintings, produced this year, that provide a meditative and emotive space in which to consider embodiment, togetherness and loss.
Walter Price, Pearl Lines (Installation view), 2021. Photo: Rob Harris
Price’s works reflect the instability and unpredictability of our times, with the themes of race and Covid running through much of the work, but it is nevertheless an exuberant show.
Ryoji Ikeda, Point of no return, 2018. © Jack Hems, 180 The Strand, 2021.
An ear-shredding, eye-rending survey of the audiovisual artist transforms data into engulfing experiences and fires up the mind.
Richard Hamilton, Adonis in Y-Fronts, 1963. Screenprint on paper, Pallant House Gallery, Chichester (Wilson Loan, 2006) © Richard Hamilton 2020. All rights reserved, DACS.
Key works and a wealth of fascinating archive material make this small show a must see.
Tate Britain Commission: Heather Phillipson: Rupture No.1: blowtorching the bitten peach 
© Tate photography (Oliver Cowling).
This show is a fully sensate experience, a meditation of sorts on the state of the world that turns the Duveen Galleries into a space to get lost in, physically and psychologically.
Auguste Rodin. The Kiss, 1901-4. Installation view, The Making of Rodin, Tate Modern, London 2021. Photo: Juliet Rix.
With about 200 items, including some of his best-known, most groundbreaking works, this exhibition delves into the sculptor’s thinking and processes of making.
Curator Mariam Zulqifar talking to Studio International about Bring Into Being at Chiswick House and Gardens, London, May 2021. Photo: Martin Kennedy.
Mariam Zulfiqar, the curator of an exhibition of art installations at Chiswick House, says it marks a new chapter for the English Heritage site.
Carlos Martiel - Mediterráneo, ​ 2017. Image courtesy Jorge M. Perez Collection / El Espacio23.
Miami Art Scene May 2021 – leading America’s obsessive, overdue, and necessarily over-weighted attention to diversity, the focus on Black Art has morphed from moment to movement.
Clare Woods, 2019. Courtesy artist and Simon Lee Gallery. Photo: Ben Westoby.
Woods talks about her new prints and collages, now on show at Cristea Roberts gallery in London, their relationship to her paintings, and finding a silver lining in the pandemic.
Lisa Brice, Untitled, 2021. Oil on tracing paper, 41.9 x 29.6 cm. Framed: 50.8 x 38cm. Copyright Lisa Brice. Courtesy the artist; Stephen Friedman Gallery, London and Salon 94, New York.
Charleston reopens with two exhibitions investigating the relationship between portraitist and model, placing forgotten modernist alongside contemporary hero.
Alex Da Corte: As Long as the Sun Lasts, installation view, Iris and B Gerald Cantor Roof Garden, Metropolitan Museum of Art, 2021. Photo: Lilly Wei.
This brightly coloured stainless steel, aluminium and fibreglass installation, depicting Sesame Street’s Big Bird swinging on a crescent moon, is just what is needed after a year of despair.
Julian Opie. Julian, 2013. Portrait: © Julian Opie. Photo: Alex Delfanne.
Julian Opie talks about travelling via Google Earth during lockdown, how colour blindness has shaped his work and his new show at the Lisson Gallery in London.
Dod Procter (1892-1972). Girl in Blue, 1925. Oil on canvas. Laing Art Gallery, Newcastle-upon-Tyne, UK / © Tyne & Wear Archives & Museums. © The Estate of Dod Procter / Bridgeman Images.
This exceptionally well-curated exhibition brings together four female artists, from a pivotal point in British social and art history, and explores how each, in her own way, challenged conventions and restrictions to become a successful painter.
Shara Hughes in her studio, 2018. Photo courtesy the artist.
The American artist Shara Hughes talks about the new paintings in her exhibition at the Garden Museum in London and the novelty of exhibiting in a church.
Rafael Pérez Evans, (sweet potato), 2019. © Rafael Pérez Evans.
The artist talks about growing up in a farming community in rural Spain, queer and rural shame, and the importance of reuniting living, thinking and making through a practice that disrupts.
Bill Bernstein, dance floor at Xenon, New York, 1979. © Bill Bernstein / David Hill Gallery, London.
With nightclubs facing massive uncertainty after more than a year of closure, the V&A Dundee’s exhibition is a reminder of what we stand to lose if they don’t receive more support.
Epilogue: Michael West’s Monochrome Climax, gallery view, 2021. Image courtesy of Hollis Taggart Gallery.
West’s willingness to take risks and reject stylistic uniformity shines through in this exhibition of works from an artist who, despite being first rate, remains so little known.
Yayoi Kusama. Dancing Pumpkin, 2020, The New York Botanical Garden. Urethane paint on bronze, 196 7/8 x 116 7/8 x 117 ¼ in (500 x 296.9 x 297.8 cm), Collection of the artist. Courtesy of Ota Fine Arts and David Zwirner. Photo: Robert Benson Photography.
In a joyous coupling of art with nature, Yayoi Kusama’s cheering and restorative polka dots and pumpkins are just what is needed after this traumatic year.
Portrait of Idris Khan, 2021. © Josh Shinner.
The British artist talks about his new works at Victoria Miro, freaking out in lockdown and encapsulating a year in colour.
Clare Patey. Photo: James Clarke.
Clare Patey talks about 25 years of creating and producing powerful, participatory, public artworks on climate change, plastic waste and loss of empathy.
Eiki Dantsuka. Medical Herbman Cafe Project 2021, Higashida Oodoori Park. 25-metre-long, human-shaped herb garden.
The premise of this 11-day festival is that art can draw attention to the state of our planet and propose a better future through sustainable development goals.
Markus Lüpertz. Märkische Allee III, 2017. Mixed media on canvas in artist’s frame, 55 x 82 3/4 in (140 x 210 cm). Courtesy Michael Werner Gallery, New York and London.
A suite of new works by the German painter, exploring the theme of Arcadia, mix inscrutability with assertiveness.
Mika Tajima. Art d'Ameublement (Isla Juan Bautista), 2020. Spray enamel, thermoformed PETG, 182.9 x 137.2 cm (72 x 54 in). Image courtesy of the artist and Kayne Griffin Corcoran. Copyright of the artist
For her debut solo exhibition in the UK, the New York-based artist Mika Tajima focuses on the ways in which psychic and bodily energy is regulated by technocapitalism.
Sam McKinniss, Lil Nas X with Friends and Cops, 2021. Oil on linen, 183 x 124.5 / 72 x 49 in. © Sam McKinniss. Courtesy of the Artist and Almine Rech. Photo: Dan Bradica.
A suite of works by the New York painter form a tribute to the stars of country music, the power of celebrity and the American imagination.
Spencer Frederick Gore (1878-1914). Ballet at the Alhambra, 22.3 x 27.8 cm. Pastel. University of Reading Art Collection, UAC/10566. Photo: Laura Bennetto.
With a wide range of drawings, including works by Rubens, Charles Keene, Sickert and Whistler, this exhibition reflects on a culture that has now been largely superseded.
Hurvin Anderson in his studio. Photo: Sebastian Nevols. © Hurvin Anderson. Courtesy the artist and Thomas Dane Gallery.
The unsettling depictions of nature in Hurvin Anderson’s new paintings, based on photos from a 2017 trip to Jamaica, address his relationship with his ancestral homeland. He talks about the works and how lockdown changed his practice.
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