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Gluck and Modern British Women

During her lifetime, Hannah Gluckstein (Gluck) refused to show in group exhibitions. The Fine Art So...

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Amie Siegel: Strata

From the world’s deepest underground marble quarry to a fragment of pink marble from Trump Towers,...

Tara Donovan: ‘I’m interested in exploring the moment where the condit...

The artist explains that, although her latest work, Compositions (Cards), may seem very different fr...

House Work

The house and its potential as a home, a prison, a marker in one’s life, is fertile territory and ...

The Place Is Here

The 1980s were a fertile time for black British artists to interrogate their experience of racial di...

David Hockney

Celebrating 60 years of Hockney’s work, this exhibition charts the art of a modern great through d...

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Vanessa Bell (1879-1961)

While Vanessa Bell stands strong as an artist in her own right, her art can nevertheless not be sepa...

Yuko Mohri: 'I’m very curious about organic ecosystems'

Mohri talked to Studio International before the opening of her exhibition Moré Moré [Leaky] and ex...

Vera Möller: ‘My father thought going to art school was like wanting to...

The German-born artist explains why she first studied biology rather than art, how her scientific ba...

Bouchra Khalili

In her first solo UK exhibition, French-Moroccan artist Bouchra Khalili explores the fraught concept...

Thomas Hirschhorn: ‘The Gramsci Monument, like all monuments, is made fo...

The artist talks about his commitment to art in public spaces, describes how the Gramsci Monument in...

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A Revolutionary Impulse: The Rise of the Russian Avant-Garde

This exhibition of Russian art from the 1920s and 30s, based on MoMA’s own collection, is a hearte...

Conceptual Art Now

Three exhibitions of conceptual art in Germany shed some light on the elusive genre. Taryn Simon’s...

Sussex Modernism: Retreat and Rebellion

Unravelling some of the interwoven and incestuous tales relating to the 20th-century modernist prota...

Laura Oldfield Ford: ‘I map ruptures, such as the London riots’

Oldfield Ford spends a lot of time walking through the capital’s streets and, from the fanzine she...

Candida Powell-Williams: ‘Each object becomes more than just the narrati...

The artist shows us round her immersive installation, exploring the fetishism of anthropological obj...

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Richard Wilson: Stealing Space

‘I’m just making the unknown real,’ says Wilson, about his new exhibition, Stealing Space at A...

John Baldessari: Miró and Life in General

As he continues his late-career conversation with art history, the archetypical Californian conceptu...

TeamLab: Transcending Boundaries

If there were a happiness index for exhibitions, then teamLab: Transcending Boundaries would score a...

Mai-Thu Perret: ‘I had this urge to portray these female warriors’

The multi-disciplinary artist talks about her continuing fictional narrative The Crystal Frontier, h...

Jamie Crewe: Female Executioner

Seeking ancestry in a controversial and pornographic 19th-century French novel, this queer, transfem...

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Linda Stupart: ‘I’m interested in thinking about a world without men’

The writer, sculptor and performance artist talks about the power of crystals, witchcraft and using ...

David Brian Smith: ‘My cause is to fight for the plight of the English c...

The painter’s pop-coloured vision of the English countryside belies a sad truth, but as Smith demo...

One and Other

The Zabludowicz Collection sets the stage for a shrewd reflection on the real versus the created sel...

Sheida Soleimani: ‘Does someone really want to buy an image of an execut...

Surrounded by her neon memorials to women killed in Iran, Soleimani discusses the state-sanctioned m...

Terrains of the Body: Photography from the National Museum of Women in the...

Building on the legacy of feminist art from the 1970s, this exhibition includes photographic and vid...

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Ed Webb-Ingall: ‘I am a product of lesbian history and a child of sectio...

The video-maker talks about working with communities, his current work, We Have Rather Been Invaded,...

Rezi van Lankveld: ‘I pour paint to make a “happening” in the painti...

The Dutch painter explains how her attitude to painting has changed and talks about her recent paint...

The Studio and the Arts and Crafts Movement

This article was first published in High Art and Low Life: The Studio and the fin de siécle, ...

Strange Worlds: Visions of Angela Carter

To mark the 25th anniversary of Carter’s death, this exhibition brings together works that influen...



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