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Hannah Gluckstein. Gluck, 1942. Oil on canvas, 30.6 x 25.4 cm. © National Portrait Gallery.
To mark the 50th anniversary of the partial decriminalisation of sex between men, Tate Britain’s contribution to the plethora of queer exhibitions across the UK is a well-curated, well-balanced, aesthetically compelling tribute to sexualities and genders across the spectrum.
Tony Heywood and Alison Condie. Head Land in situ at Jerwood Gallery, Hastings, 2017. Photograph: Emily Spicer.
Tony Heywood and Alison Condie’s ode to Hastings attempts to combine psychedelic sculpture with plants, but the jarring mixture of the natural and the artificial fails to capture the essence of this crazy coastal town.
Brook Andrew, SPIN, installation view, Tolarno Gallery, Melbourne, 6 April - 20 May 2017.
History, identity and race dominate the Australian artist’s work, as he challenges stereotypical ideas, uncovering neglected and often conflicted histories, particularly relating to the Indigenous people of his own country.
Deanna Petherbridge. Bankside in Media Res I, 1995. Pen and ink on paper, 153 x 103 cm.
Using pen and ink as a metaphorical means of interrogating human interest, Petherbridge sees drawing as akin to writing, only perhaps more democratic.
Co-curator Sam Cornish explains the thought process behind Kaleidoscope: Colour and Sequence in 1960s British Art. Photograph: Martin Kennedy.
The co-curator of Kaleidoscope: Colour and Sequence in 1960s British Art discusses how this relatively unsung period in art history was characterised by more than just bright colours and glossy surfaces.
Naeem Mohaiemen. United Red Army, 2011, 70 mins.
Tensta Konsthall is showing Bangladeshi artist Naeem Mohaiemen’s 2011 film, United Red Army, about the hijacking of a Japanese Airlines flight in 1977, along with two related vitrine displays.
Drawing Biennial 2017, The Drawing Room, London, installation view.
The eighth edition of the Drawing Biennial, which includes more than 200 works on paper, prompts a reflection both on the status of drawing today and the world around us.
Jean Painlevé in Roscoff Brittany, circa 1960 © Archives Jean Painlevé, Paris. Image courtesy of Archives Jean Painlevé, Paris.
This is the first UK solo show for this fascinating artist, who chronicled key moments in the lives of seahorses, snails and other marine animals, using novel technologies to reach microscopic scales.
Saad Qureshi talking to Studio International at Gazelli Art House, London, 3 March 2017. Photograph: Martin Kennedy.
The artist talks about his seduction by charcoal, his fear of being exposed, and his creation of mindscapes from his own and others’ memories.
Oliver Beer talking to Studio International at his London studio, 7 March 2017. Photograph: Martin Kennedy.
Oliver Beer uses sound, film and sculpture to explore the physical properties and emotional value of objects and places. We interview the artist as two new solo exhibitions open in the UK.
Secundino Hernández. Untitled, 2017. Acrylic, rabbit skin glue, chalk, calcium carbonate and titanium white on linen, 311 x 261 x 4 cm (122 1/2 x 102 3/4 x 1 5/8 in). Courtesy the Artist and Victoria Miro, London. © Secundino Hernández.
The artist talks about his academic origins, the delicate equilibrium he seeks between accident and control, the quintessentially Spanish spirit of his painting, and his current exhibition, Paso, at Victoria Miro, London.
David Hepher. Arrangement in Greys and Silvers, 1995. Concrete, acrylic, oil and spray paint on canvas, 214 x 270 cm (84 ¼ x 106 ¼ in). © David Hepher, Courtesy of Flowers Gallery
Unusually for a landscape artist, Hepher has for 40 years focused almost exclusively on the tower blocks of south London. In this retrospective, his large-scale triptychs evoke an almost elegiac sense of time and place.
Alexey Titarenko. From the series Nomenclature of Signs (Kino), 1986-1991. Unique gelatin silver photomontage, 13 ½ x 13 ½ in (34.3 x 34 cm).
An exhibition at the Naiya Alexander Gallery in New York brings together Titarenko’s photographs from four cities taken over 30 years. Here, he talks about how life in the Soviet Union shaped his work, being jailed by the KGB, and how he found happiness in New York.
James Capper in his London studio, March 2015. Photograph: Martin Kennedy.
We visited James Capper over the course of four months, first filming him in his London studio where he explained the initial concept for his sculpture Six Step and finally following him to its installation at the Venice Biennale in 2015.
Maeve Brennan. The Drift, 2017. Produced by Chisenhale Gallery, London and Spike Island, Bristol. Commissioned by Chisenhale Gallery; Spike Island; The Whitworth, The University of Manchester; and Lismore Castle Arts, Lismore. Courtesy of the artist.
Premiering at the Chisenhale Gallery, Brennan’s film The Drift (2017) depicts restorative labour as the means to reconstruct Lebanon’s war-torn past and build a new future.
Gillian Wearing. Me as Cahun holding a mask of my face by Gillian Wearing, 2012. Courtesy the artist and Tanya Bonakdar Gallery, New York and Maureen Paley, London. Copyright: Gillian Wearing, courtesy Maureen Paley.
Defying history, this exhibition reveals crucial parallels between the surrealist Cahun and contemporary artist Wearing, from the birth to the death of their manifold identities.
Marsden Hartley. The Ice Hole, Maine, 1908-9. Oil on canvas, 34 x 34 in (86.4 x 86.4 cm). New Orleans Museum of Art, Museum Purchase through the Ella West Freeman. Foundation Matching Fund.
Capping a series of pioneering shows at the Met Breuer that, force majeure, will serve as the new wing of the Metropolitan Museum of Art, this insightful appraisal of Marsden Hartley as “the Painter from Maine” places the Yankee for all time in the centre of his own court.
Phyllida Barlow. Untitled: stackboxtube2015, 2015, Cardboard, plywood, scrim, cement, plaster, tape, paint, spray paint, PVA, 174 x 80 x 105 cm. Photograph: Alex Delfanne.
Courtesy of the Artist and Hauser & Wirth.
A mix of sculpture, tapestry, film, photography, painting and collage by 33 artists whose work refers to, or manipulates, the built environment, this exhibition heightens awareness of one’s own physical presence and the intensity – and complexity - of our relationship to the material and spatial world around us.
Anna Berger. Off Piste, 2016. Oil on aluminium, 70 x 60 cm. Courtesy of Kevin Kavanagh Gallery.
In order to understand contemporary painting, curator Séamus Kealy presents the work of nine European artists, examining their work through the lens of phenomenology.
Cauleen Smith. In the Wake, 2017. Satin, poly-satin, quilted pleather, upholstery, wool felt, wool velvet, indigo-dyed silk-rayon velvet, indigo-dyed silk satin, embroidery floss, metallic thread, acrylic fabric paint, acrylic hair beads, acrylic barrettes, satin cord, polyester fringe, poly-silk tassels, plastic-coated paper, and sequins. Collection of the artist. Photograph: Miguel Benavides.
America loves firsts, and, following a hiatus of three years, the once-unruly Whitney Biennial, currently curating what’s hottest in American art in its sleek, shiny, grown-up, new space, fits the bill.
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