Lynn Hershman Leeson. CyberRoberta, 1996. Custom-made doll, clothing, glasses, webcam, surveillance camera, mirror, original programming, and telerobotic head-rotating system, approximately 17 ¾ x 17 ¾ x 7 ⅞ in (45 x 45 x 20 cm). Courtesy the artist; Bridget Donahue Gallery, New York; and Altman Siegel, San Francisco.
The human body provides a jumping-off point for both artists, but while Hershman Leeson’s exploration of the relationship between technology and self draw strongly on a feminist perspective, Atkins’ consideration of identity is rather troubling
Rebecca Salter, portrait © Jooney Woodward.
The first female president of the Royal Academy talks about the impact the pandemic has had on the institution and on her own work, and why Japanese art has had such a major influence for her.
Tea House 'Go-an' / Terunobu Fujimori. Photo: ToLoLo studio.
As the city holds the 2020 Olympics, architects and artists including Kazuyo Sejima, Terunobu Fujimori and Yayoi Kusama have designed pavilions to show visitors Tokyo’s cultural side, both old and new.
Hormazd Narielwalla. Photo: Denis Laner.
The artist talks about capturing the essence of David Bowie, through the creation of his trademark paper-pattern collages, in his most recent, limited-edition artist’s book .
Nicolai Aluf. Sophie Taeuber with her Dada head, 1920. Gelatin silver print on card, 12.9 x 9.8 cm. Stiftung Arp e.V., Berlin.
The passion and excitement of this multidisciplinary artist and designer shine through in an uplifting and joyous show.
Karla Black, Photo: Ronnie Black, Courtesy Galerie Gisela Capitain, Cologne.
Karla Black, whose sculptures are now on show at the Fruitmarket, Edinburgh, talks about the power of colour, the seduction of cosmetics and the delicious disruption of institutional space through her chaotic, celebratory material explorations.
Blenheim Park and Gardens, landscaped by Capability Brown, provide the backdrop for Tino Sehgal’s performance pieces, which he does not allow to be photographed. Image courtesy of Blenheim Art Foundation.
The Berlin-based performance artist returns to the UK with human boulders, everyday anecdotes and public displays of affection set amidst 18th-century gardens.
Mary Grigoriadis, Rain Dance, 1974. Oil and acrylic on linen, 66 × 66 in (167.64 × 167.64 cm). Courtesy of the artist and Accola Griefen Fine Art. Photo: Phoebe d’Heurle.
With almost 100 works on show, this exhibition is outstanding for the way in which it takes the pattern and decoration movement seriously as an object of historical inquiry.
James Barnor. Sister holding Brother, Accra, 1979. Courtesy Galerie Clémentine de la Féronnière.
In fashion shoots, studio portraits and street photography, this major survey of the British Ghanaian photographer’s work shows his enduring interest in people as he captures major social and political changes across two continents.
Eduardo Chillida with Lo profundo es el aire, Estela IX [How Pround is the Air; Stele IX], 1989. Granite. Photo: Jordi Belver. © Zabalaga Leku. San Sebastián, VEGAP (2021). Courtesy of the Estate of Eduardo Chillida and Hauser & Wirth.
The Basque sculptor’s geometry-defying, spatially expansive works fit snugly into the barns and grounds of Hauser & Wirth’s historic farmhouse.
Larry Achiampong, Detention (SHOUTING BLACK LIVES MATTER WITH ALGORITHMS AND INTENTIONS THAT EXPIRED WITH LAST YEAR’S MILK), 2021. Blackboard, chalk. Written by Juan Cruz, Monday 3 May 2021. Courtesy of Talbot Rice Gallery, University of Edinburgh. Pictured – Melissa MacRobert, Exhibitions Manager at Talbot Rice Gallery. Image by Neil Hanna Photography.
A bracing reflection on social and environmental issues that have been foregrounded during the pandemic, this exhibition, curated in real time during 2020, acts as an emotional, but uplifting wake-up call.
Mick Peter, Gerroff! (or User Feedback), 2021 at Hospitalfield. Image courtesy of the artist.
Amid the playful life-size figures at his new show, Gerroff!! (or User Feedback), Mick Peter discusses making sculptures that look like big drawings and how he hopes to subvert people’s interactions with public art.
Gustav Metzger, Self Portrait, An Undefiled, 1946. Oil on canvas. Courtesy of The Gustav Metzger Foundation.
Showing work from Metzger’s formative years, much of it rarely seen before, this exhibition sheds light on the artist’s search for his own artistic language before his ‘auto-destructive’ period.
Jakob Kudsk Steensen, Berl-Berl, 2021. Courtesy of the artist.
Ahead of an enormous new installation in Berlin’s fabled nightclub Berghain, the Danish artist talks virtual reality, field work and the importance of wetlands.
Brett Rogers OBE.
The director of the Photographers’ Gallery talks about her own love of photography and how the organisation is celebrating its 50th-anniversary programme alongside ambitious plans for the future.
Cathie Pilkington. Photo: Hayley Benoit, October 2020.
The artist talks about the importance of democracy in her practice, how she feels she sits – or doesn’t! – within the patriarchal tradition, and how she has a resistance to finalising a work and defining where it begins and ends.
Mark Leckey. PS1 performance image.
Leckey shares his circuitous journey to art-world success, his passion for music, film and outsider culture, and the powerful way our online lives are shaping how we feel and even how we sound.
Nicholas Pope.
To coincide with three major shows of his work, Nicholas Pope speaks about his successes, travels, tribulations and breakthroughs – and, in everything, his joy in making and thinking shines through.
Tesfaye Urgessa. Photo courtesy of Saatchi Yates and the artist.
Tesfaye Urgessa talks about his latest exhibition, breaking down borders and what home means to him.
Michael Armitage, The Paradise Edict, 2019. Oil on Lubugo bark cloth, 220 x 420 cm. The Joyner/Giuffrida Collection © Michael Armitage. Photo: © White Cube (Theo Christelis).
As his show, Paradise Edict, opens at the Royal Academy in London, Michael Armitage talks about the pandemic, painting, politics and his dual Kenyan-UK heritage.
Kate Atkin in her studio.
On the eve of Floating Heads, a new show at Xxijra Hii in London, Atkin talks about her exotic and fantastic pencil drawings, her new micro sculptures, and how a random Polaroid spawned her whole drawing practice.
Ilana Halperin. Field Studies (from Kilchattan Bay to Hawk's Neb), 2019. Courtesy the artist and Patricia Fleming Gallery, Glasgow. Photo: Keith Hunter.
For one of her largest solo presentations to date, Ilana Halperin brings her multifaceted practice to the Isle of Bute, responding to the place’s geological and human histories with a mix of the personal, geological, corporeal and poetic.
Bedwyr Williams. Untitled Instagram Drawing, 2020. Digital drawing, 25 x 25 cm. © Bedwyr Williams.
The Welsh artist’s London show is a cartoon, model and animation-fuelled parody of pretentious artists, curators and architects, set in the tranquil galleries of Southwark Park.
Rachel Kneebone. Photo: David Bebber.
Sculptor Rachel Kneebone talks about her forthcoming exhibition at Yorkshire Sculpture Park and the new direction her work is taking.
Sutapa Biswas. Housewives with Steak-knives, 1984-85. Oil, acrylic, pastel, pencil, white tape, collage on paper mounted onto stretched canvas, 2450 x 2220mm. © Sutapa Biswas. All rights reserved, DACS/Artimage 2020. Photo: Andy Keate
Sutapa Biswas talks about her lifelong quest to decolonialise British art history, and about her two forthcoming exhibitions.
Ellen Gallagher. Ecstatic Draught of Fishes, 2020. Oil, palladium leaf and paper on canvas, 248 x 202 cm (97 5/8 x 79 1/2 in). Photo: Tony Nathan. © Ellen Gallagher. Courtesy the artist and Hauser & Wirth.
Gallagher takes the viewer down into her watery world, where mythology, history and nature collide, in five new, visually compelling works.
Chantal Joffe. Self-Portrait Naked with My Mother II, 2020. Oil on board, 243 x 181.5 cm (95 5/8 x 71 1/2 in). © Chantal Joffe. Courtesy the artist and Victoria Miro.
Joffe’s tender paintings of herself and her siblings with their mother evoke memories of family, motherhood and the process of ageing  .
Jean David Nkot. Courtesy AFIKARIS Gallery.
The artist talks about the development of his practice, and how he uses three distinct layers to add levels of meaning and interpretation to his human and territorial portraits.
Adrian Berg. Beachy Head 6th May, 1995. Oil on canvas, 76 x 122 cm. Image courtesy Frestonian Gallery.
Marco Livingstone’s lavish book is a tribute to one of Britain’s finest landscape painters and its publication is accompanied by an exhibition of Berg’s works at the Frestonian Gallery in London.
Nurturing Exhibitions, 2021. Six music compositions by Phill Niblock, soil and the Amanatsu orange sapling from Masanobu Fukuoka Natural Farm, wooden pedestals, speakers, wooden benches, wooden planter, acrylic case, water, sunlight. Photo copyright Nacása & Partners Inc / Courtesy of Fondation d’entreprise Hermès.
Copeland challenges the usual perceptions of what an exhibition should be. Here he explores the idea of the closed exhibition and considers how organisms, like art shows, change according to where they are sited.
Yu Ji. Flesh in Stone Ghost No 8, 2021. Cement, iron, plaster, wood, concrete, rocks, wax, wooden tables. Photo: Veronica Simpson.
The Chinese artist Yu Ji has salvaged construction debris from east London and Shanghai to create a ‘living sculpture’ installation using an intriguing palette of concrete, recycled wreckage and plant-infused water.
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