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The Indian artist, brought up in a family of goldsmiths, adapts age-old techniques to make work that seems to bear witness and testimony to this family history and its artistic tradition
Helen Johnson. Bad debt, 2016. Acrylic on canvas, wood, 380 x 320 cm. Image courtesy of the artist.
The Australian artist’s new exhibition at the ICA in London re-examines Britain’s colonial relationship with Australia. She talks about what that means to her and how her work reflects those ideas.
Adrienne Elise Tarver. Secrets of Leaves, 2017. Courtesy of the artist and Victori + Mo.
The artist talks about notions of voyeurism, and her interest in personal space and the power of suggestion.
Joe Tilson. Zikkurat 1, Spectrum, 1967. Oil and acrylic on board (relief), 217 x 217 cm (85.5 x 85.5 in). Courtesy of Waddington Custot.
This group exhibition, including work by Josef Albers, David Annesley, Anthony Caro and Hélio Oiticica, provides an interesting survey of 1960s abstract art and its legacies, and suggests a few intriguing connections.
Andy Warhol. Vote McGovern, 1972. Colour screenprint. © 2016 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York and DACS, London.
This exhibition pops and sparks, but ultimately goes out with a disappointing fizzle, leaving us to wonder what happened to the American dream.
Stephan Bogner, Philipp Schmitt and Jonas Voigt. Raising Robotic Natives, 2016 © Jonas Voigt.
This exhibition is a provocative, disturbing, poignant and ultimately telling exploration of the implications and complications arising from technology’s advancing role in human evolution.
Deimantas Narkevičius. 20 July 2015, 2016. Stereoscopic video projection (video still), colour, sound (Lithuanian and Russian spoken), English subtitles, 15 min 8 sec. © Deimantas Narkevicius, courtesy Maureen Paley, London.
In the Lithuanian artist’s latest exhibition, contrasting public reaction to the dismantling of communist public sculptures in his homeland are examined in two video works.
Richard Brautigan. Poem: All Watched Over by Machines of Loving Grace, 1960s. Photograph: Veronica Simpson.
In the 1960s, technological machines were seen as benign helpers or megalomaniac monsters. Fifty years on, at a time when technology permeates everything we do, this show looks at how it reframes the way we think.
Kishin Shinoyama. John Lennon, Yoko Ono, 1980. © Kishin Shinoyama.
The Japanese photographer, famous for his portraits of celebrities and nudes, has selected about 120 works, taken over a 50-year period, leading the viewer on a trip down memory lane.
Michael Andrews. Lights VII: A Shadow, 1974. Acrylic on canvas, 182.9 x 182.9 cm (72 × 72 in). © The Estate of Michael Andrews, courtesy James Hyman Gallery, London.
Best known for his party scenes, Michael Andrews’ later landscapes reveal him as a master of perspective and a laureate of uncertainty.
Gluck. Medallion (YouWe) with frame, 1936. Oil on canvas, 30.5 x 35.6 cm. Ömer M. Koç Collection. Image courtesy of The Fine Art Society.
During her lifetime, Hannah Gluckstein (Gluck) refused to show in group exhibitions. The Fine Art Society has stayed true to her wishes with this extensive retrospective on the ground floor complemented by an exhibition upstairs of works by several of her contemporaries.
Sebastiano del Piombo, incorporating designs by Michelangelo. The Raising of Lazarus, 1517-19. Oil on synthetic panel, transferred from wood, 381 x 289.6 cm. © The National Gallery, London.
This fascinating exhibition tells the story of two Renaissance greats and their unlikely collaboration.
Rik Wouters. Portrait of Rik (without a hat), 1911. Oil on canvas, 30 × 32 cm. Private collection. © Photograph: Vincent Everarts Photographie, Brussels.
More than 200 works mark the largest monographic exhibition to date devoted to the Belgian modernist. In a feast of colour and strong brush strokes, a collaboration of more than 30 museums, private collectors and cultural institutions, invite the attentive observer to become immersed in an independent world between fauvism and avant garde.
I Ata Doğruel, Endless Field, Zilberman Gallery Project Space, 19-20 February 2017. Courtesy of Performistanbul.
Pushing his physical and mental boundaries to the limit, Doğruel seeks to make performances from his life and to use the medium of performance art as a tool to enhance his spirituality and find a broader sense of life.
Hiroshi Sugimoto. Suruga Bay, Atami, Seascape, 1997. Gelatin silver print.
The museum reopens its doors after a renovation by artist Hiroshi Sugimoto that combines modern technology with ancient techniques, allowing visitors to see historical artworks in a setting similar to that in which they would originally have been viewed.
Edward Krasiński, Krzysztofory Gallery, Krakow, 1965, exhibition view. Photograph: Eustachy Kossakowski. © Hanna Ptaszkowska and archive of Museum of Modern Art Warsaw, courtesy Paulina Krasinska and Foksal Gallery Foundation, Warsaw.
As mercurial as this master of the Polish avant-garde might seem, a career-wide survey revealed some persistent concerns while retaining much of the mystery.
Top left: Jeffrey Deitch – recreation of Florine Stettheimer Collapsed Time Salon show. Top right: Sadaharu Horio's Art Vending Machine. Bottom: Cerith Wyn Evans. ... later on they are in a garden..., 2007. Photographs. Jill Spalding.
Manhattan’s storied art fair pushed back against a softening art market with strong work, mid-range sales and more than 65,000 visitors – the jury is out, though, on what was added by a new director’s ambitious overhaul.
Mahmoud Bakhshi in his studio. © Pooyan Jalilvand, courtesy of the artist and Pooyan Jalilvand.
Turning the gallery at narrative projects, London, into a 1970s cinema, Bakhshi places his audience at the centre of two pivotal – and parallel – events in recent Iranian history.
Alexei Jawlensky. Self-Portrait with Top Hat, 1904. Oil on canvas. Private collection. © 2016 Artists Rights Society (ARS), New York for Alexei Jawlensky.
Jawlensky’s art may be considered a life-long meditation on the process of change in his personal life.
Boris Mikailovich Kustodiev. Bolshevik, 1920. Oil on canvas, 101 x 140.5 cm. State Tretyakov Gallery. Photograph: © State Tretyakov Gallery.
The fascinating and expansive exhibition provides an intriguing and rare insight into the dialogue between art and politics, the individual and the state, freedom of expression and the pull of ideology.
Amie Siegel. Quarry, 2015. HD video, colour/sound. Exhibition view, South London Gallery, 2017. Courtesy the artist and Simon Preston Gallery, New York. Photograph: Andy Stagg.
From the world’s deepest underground marble quarry to a fragment of pink marble from Trump Towers, via Freud’s consulting room, Siegel takes us on a journey to explore how objects come to represent status and success.
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