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For her first solo public exhibition outside the US, the artist shows a sculptural installation and six new large-scale paintings, which are like painted diaries of her visual influences
James Richards. Photograph: Andy Paradise.
The artist, who will be representing Wales in Venice (Cymru yn Fenis) at next year’s biennale, talks about his processes of collaging together digital fragments to create immersive audiovisual installations.
Wendy Stavrianos. Bridge 1 Disjunction, 2016. Acrylic on canvas, 180 x 195 cm.
The artist talks about her concern with environmental degradation and mass migration, and her aim to share her sadness and memories in her latest works.
Toby Ziegler talking to Studio International at Simon Lee Gallery, London, 6 October 2016. Photograph: Martin Kennedy.
The artist explains his processes of painting and sanding, and using Google’s reverse image search to create works with layers of geological exploration.
Andrew Gillespie, AKA, 2016. Collage, 86 x 61.5 cm.
Nathaniel Pitt explains that he looked to the processes of artists, instead of the subjects of their work, to curate the show. The three artists in this show, he says, are not starting from media, but from their curiosity.
Simon Starling, At Twilight / Mask of W.B. Yeats, 2016. Mask by Yasuo Miichi. Courtesy of Simon Starling & The Modern Institute.
The Turner Prize-winning conceptual artist underscores his first institutional show in New York with a meticulously researched multimedia installation based around WB Yeats’s 1916 play At the Hawk’s Well and Noh theatre.
Stuart Kestenbaum and Susan Webster. Photograph: Leslie Bowman, 2014. Bowman Studio, Trescott Maine, USA.
Maine’s poet laureate Stuart Kestenbaum and artist Susan Webster talk about their recent collaborative cross-disciplinary work.
Oscar Murillo. through patches of corn, wheat and mud, 2016. Latex on linen with steel and scale, 174 x 268 x 30 1/2 in (442 x 680.7 x 77.5 cm). Courtesy the artist and David Zwirner, New York/London.
Canvases appear abandoned on the floor and wet paint suggest a state of un-finish, but the compositions are complex, and the overlaid marks, prints, and repeated brushstrokes, a result of a prolonged process and experimentation.
Franz Kline. Vawdavitch, 1955. Oil on canvas, 158.1 x 204.9 cm. Museum of Contemporary Art Chicago, © ARS, NY and DACS, London 2016. Photograph: Joe Ziolkowski.
The towering canvases of abstract expressionism crowd the main galleries of the Royal Academy in this monumental exhibition.
Zhao Zhao in his Beijing studio, May 2015. Photograph: Martin Kennedy.
A prominent member of the post-1980s generation of Chinese artists and a former assistant of Ai Wewei, the Beijing artist talks about his visually stunning, anti-authoritarian and provocative work. Lilly Wei talked to the artist in his Beijing studio in 2015.
Elpida Hadzi-Vasileva. Beauty Exposed II, 2016. Sheep stomach, pig intestine and turned wood.
The artist, who makes beautiful works of art using waste products from the meat industry talks about God, gastroenterology and pigs’ guts.
Lucia Nogueira, gallery view © The Estate of Lucia Nogueira, courtesy Annely Juda Fine Art and Anthony Reynolds Gallery, London.
As this selection of work shows, the sculptures and installations of the Brazilian artist, made from found or secondhand objects, are full of contradictions.
Bound books by Ian Howard (left) and Arthur Watson (right).
The artist talks about his current exhibition, Double Diablerie, in which he explores superstitions around the Devil, along with fellow Scottish artist Ian Howard and two Japanese artists.
Louise Bourgeois. I Go to Pieces: My Inner Life (#6), 2010. Etching, watercolour, gouache, ink, pencil and coloured pencil on paper with fabric relief and embroidered fabric on panel, 156.5 x 226 cm (61 5/8 x 89 in). © The Easton Foundation/VAGA, New York/DACS, London 2016. Courtesy Hauser & Wirth.
The opening room at Hauser & Wirth Somerset has been transformed into a spider’s lair, a fitting scene to start this exhibition of late etchings by Louise Bourgeois, seen here together for the first time.
Celia Paul. Self Portrait, April 2016. Oil on canvas, 91.6 x 61 x 3.6 cm. Courtesy the artist and Victoria Miro, London. © Celia Paul.
In an exhibition dominated by self-portraits and seascapes, Celia Paul demonstrates the virtues of subtlety and perseverance.
Peter Liversidge. Upstate New York Swimming Pool I, 2014. Pair of unique Fuji FP-100C photographs, image: 2 7/8 x 3 3/4 in (7.3 x 9.5 cm) each; Fuji: 3 3/8 x 4 1/4 in (8.5 x 10.8 cm) each. © Peter Liversidge. Courtesy: Sean Kelly, New York.
The artist talks about the significance of his “proposals”, and discusses his recent project at Tate Modern involving a 500-strong choral performance, and his two new shows in the US.
Michelangelo Pistoletto speaking to Studio International at Blenheim Palace, 14 September 2016. Photograph: Martin Kennedy.
In the startlingly altered states of Blenheim Palace, the multifarious Michelangelo Pistoletto spoke to Studio International about the history of time as captured in his Mirror Paintings, his rejection of the concept of a signature style, and the conviction that art can transform life.
Tacita Dean. Event for a Stage, 2015. 16mm colour film, optical sound, 50 min. Courtesy Frith Street Gallery, London. Photograph: Stephen White.
New lithographs, slate drawings and a film of David Hockney, all done by Dean when she was in Los Angeles, are being shown alongside her acclaimed 2015 film Event for a Stage.
Sofia Borges. Eighty Million Years, Crocodile and Paper, 2012. 150 x 230 cm. The Swamp (MACK, 2016).
The artist subverts photography, as she strives to ‘rub out meaning’. Instead, she explains, she is interested in the things that are lost, denied and corrupted in the transposition from object into image, and from image into reality, and from reality into meaning.
Karin Schneider. D (CW + BP) (Dependable), 2015. PhotoTex print (self-adhesive polyester fabric) and oil on canvas, each element 18 x 18 in (45.7 x 45.7 cm); 18 x 36 in (45.7 x 91.4 cm) overall.
Restricting herself to the abstract and the monochrome, referencing Ad Reinhardt, Mark Rothko and Barnett Newman, and setting rules for the sale of her work, Schneider questions the central relationships in art – between artist and antecedent, gallerist and buyer.
Shezad Dawood. Kalimpong (still), 2016. VR environment, duration variable © Shezad Dawood, courtesy Timothy Taylor.
From yeti expeditions to spy shenanigans, the Himalayan hotel in Kalimpong has seen it all. Now, a new virtual reality work – along with its accompanying exhibition and publication – invites you to step back in time and explore.
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