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Thea Djordjadze: Framing Yours Making Mine
Thea Djordjadze, framing yours making mine, installation view, Sprüth Magers, London, 23 February – 28 March 2024. © Thea Djordjadze / VG Bild-Kunst, Bonn 2024. Photo: Ben Westoby.
In this comprehensive show, the Georgian artist’s spare sculptural works emanate a sense of disconnection, disruption and dislocation
Soulscapes, installation view, Dulwich Picture Gallery, London, 14 February – 2 June 2024. Image courtesy Dulwich Picture Gallery.
Hurvin Anderson, Michael Armitage, Alberta Whittle and other artists from the African diaspora consider how identity and collective history impact individuals’ relationships with the environment.
Gillian Lowndes. Hanging scroll, 1995. 145 x 27 cm. Collection of Ben Auld. Photo: Jo Hounsome Photography.
A post-apocalyptic landscape or an abandoned toolshed? This compact exhibition, by ceramics sculptor Gillian Lowndes, inspires the mind to wander.
Sargent and Fashion, installation view with Miss Elsie Palmer, 1889-90 and House of Worth dresses at Tate Britain 2024. Photo © Tate (Jai Monaghan).
This show looks at how Sargent styled his sitters, insisting they wore certain garments or rearranging them, using fashion as a tool to reveal their personalities.
Francis Picabia: Women: Works on Paper 1902-1950, installation view, Michael Werner Gallery, London. © The Estate of Francis Picabia. Courtesy Michael Werner Gallery, New York and London.
A career-spanning exhibition of drawings and watercolours shows the elusive modernist at his most direct.
Hew Locke, Armada, 2017-19. Installation view, Here’s the Thing exhibition, Ikon Gallery, Birmingham, 2019.  Courtesy the artist and Ikon Gallery. Photo: Stuart Whipps.
The Royal Academy, founded at the height of the British empire, brings together more than 100 historical and contemporary works – from JMW Turner to Yinka Shonibare – in an attempt to redress its colonialist past.
Barbara Kruger: Thinking of You. I Mean Me. I Mean You. Installation view, 1 February – 17 March 2024, Serpentine South. Photo: George Darrell.
As poetic as it is urgent, Barbara Kruger’s text-based work packs a weighty punch. Her methods of direct address implicate the viewer, leaving no space for complacency.
Moon / King: the work and friendship of Phillip King and Jeremy Moon - 1956 to 1973. Installation view, Thomas Dane Gallery, 2024. © Estate of Jeremy Moon. © The Estate of Phillip King. Courtesy the estates, Luhring Augustine, New York and Thomas Dane Gallery. Photo: Ben Westoby.
The pair met as students at Cambridge and remained friends until Moon’s death at the age of 39. This vibrant and colourful exhibition makes clear the influence they had on one another’s work.
Only the Young: Experimental Art in Korea, 1960s–1970s, installation view, Hammer Museum, Los Angeles, 11 February – 12 May 2024. Photo: Joshua White / JWPictures.com.
A flurry of museum and gallery exhibitions flags a surge of interest in Korean art. The most compelling is the Hammer Museum’s Only the Young.
Harold Cohen, AARON KCAT, 2001. Screenshot. Artificial intelligence software. Dimensions variable. Whitney Museum of American Art, New
York; purchase, with funds from the Digital Art Committee 2023.20. © Harold Cohen Trust.
Through paintings, works on paper and projections, this exhibition traces the evolution of AARON, the earliest artificial intelligence (AI) program for creating art, conceived by the pioneering British painter Harold Cohen.
Gayle Chong Kwan talking to Studio International about her exhibition A Pocket Full of Sand at the John Hansard Gallery, Southampton, 2024. Photo: Martin Kennedy.
The artist talks about using sand and sugar to make historic and contemporary connections between Mauritius and the Isle of Wight and between colonial power, indentured labour, leisure and childhood.
Yoko Ono, Add Colour (Refugee Boat), concept 1960, installation view, Yoko Ono: Music of the Mind, Tate Modern, London, 2024. Photo: © Tate/Reece Straw.
Spanning seven decades of the artist’s groundbreaking work, from the 1950s to now, some done with John Lennon, the takeaway message is the hope that perhaps world peace really is possible.
Leo Robinson. Photo: © GAS Foundation.
Robinson, whose exhibition Dream-Bridge-Omniglyph is now at the London Mithraeum, considers his reimagining of arcane lost worlds, Jungian dream theory and the potential curse incited by layers of ancient mythologies being incorporated into a contemporary temple of finance.
Outi Pieski. Photo: Heikki Tuuli.
Small carved figures, knotted fringes and historic hats represent Pieski’s Sámi heritage as do her luminous painted landscapes and they work powerfully in her show at Tate St Ives to highlight systemic injustices to land and people.
These Mad Hybrids: John Hoyland and Contemporary Sculpture, installation view, Royal West of England Academy, Bristol, 2024. Photo: Tim Bowditch.
In this joyous and eccentric show, Hoyland’s jaunty ceramic sculptures are shown alongside equally playful sculptures from contemporary artists including Hew Locke and Phyllida Barlow.
Unravel: The Power and Politics of Textiles in Art, installation view, Barbican Art Gallery. © Jo Underhill / Barbican Art Gallery.
The 50 artists in this formidable show have all used textiles to tell powerful stories of resistance to social, political and ecological ills.
Ronald Davis. Courtesy Ronald Davis.
Davis talks about his art and how he started out in the 1960s, his friendship with Judy Chicago, playing chess with David Hockney and having a Scotch with Clement Greenberg.
Warburg Models: The Architecture of the Itinerant Archive, installation view, Architectural Association School of Architecture, London. Photo: Elena Andreea Teleaga.
Spanning master plans and covert models, these two exhibitions conjure up a point in the early 1930s when flows of international modernism infiltrated the British academic and political establishment.
Frank Auerbach: The Charcoal Heads, installation view, The Courtauld Gallery. Photo: Fergus Carmichael.
Repeatedly drawing the same sitters from among his circle of close friends, Auerbach conveys his subjects with truth, tenderness and empathy, getting to the very heart of them.
Installation view, Jacqueline Poncelet: In the Making, Middlesbrough Institute of Modern Art (Mima), 2024. Photo: Jason Hynes.
After years of resistance, Poncelet has facilitated a full retrospective of 50 years of her work. Her inventiveness, material eclecticism and chromatic intelligence make her very much an artist for these times.
Installation view of Eva Fàbregas, When Forms Come Alive, 7 February — 6 May 2024. Photo: Jo Underhill. Courtesy the Hayward Gallery.
The Hayward Gallery’s spring exhibition is an effervescent playground of kinetically inclined sculpture that captures the drifting, mushrooming and vibrating movements of the natural world.
Debra Hurford Brown, Eduardo Paolozzi, 1999, 2003. National Galleries Scotland.
This show celebrating the centenary of the local artist who became internationally famous includes more than 60 works from his long career, along with a recreation of his studio.
Installation view, Emily Kam Kngwarray, National Gallery of Australia, Kamberri/Canberra, 2023. Photo: Jed Cooper.
This major new show pays homage to Kngwarray, an Indigenous Australian who, though she only began painting in her later years, produced a prodigious amount of work and became internationally acclaimed.
A History of Women in 101 Objects: A Walk Through Female History by Annabelle Hirsch, translated by Eleanor Updegraff, published by Canongate.
A suffragette’s medal, a 16th-century dildo and a hatpin are just some of the fascinating items that Annabelle Hirsch uses to take us on a spin through female history.
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