Even with its harrowing subject matter, Edward Kienholz’s controversial civil rights work deserves to be celebrated. This exhibition examines it in its original context of display, alongside other, often disturbing, works from 1959-1994.
Following the artist’s progress from a small German artists’ community to the bright lights of Paris, this exhibition captures Modersohn-Becker’s constant striving to simplify and distil the essence of her subject.
The artist talks about deciding to become a painter when she was 14, how Alice Neel and the Velvet Underground made her want to move to New York, why she isn’t on Facebook or Instagram, and why it’s bad to read blogs.
Mixing physical locations with digital content, The Present in Drag is a brilliant parody that builds a clever, self-deprecating critique of the present, presenting the visitor less with an experience than with a lifestyle.
The artist, who used everything from cigarette ash to microbeads to create her work, talks about cyborgs, beehives, and the problem with solid sculpture.
The focus of this exhibition, with work by canonical American and European artists, is less on the art itself and more on being inclusive for all those who visit to enjoy it. As one of the curators says: “Disability does not mean having a different cultural experience”.
Knights was a prodigious talent, yet she has been virtually ignored for the past half a century. Now, a retrospective of her paintings at the Dulwich Picture Gallery could change that. Director Ian Dejardin tells Emily Spicer why Knights is an artist worth remembering.
The artist, one of seven finalists included in the Artes Mundi 7 exhibition, talks about her project Objects of War, a collective history of the Lebanese civil war, and her newer “poetic essays” exploring neighbourhoods in Beirut through film, photography, drawing and installation.
After more than a decade and over £250m in funds, Tate Modern’s new sibling has opened its doors, displaying an exhilarating approach to accessibility, flexibility and curatorial innovation.
This intriguing exhibition attempts to capture the elusive nature of the human voice, with live performances by sound artists, demonstrations, paintings and medical illustrations. Curator Bárbara Rodríguez Muñoz tells Studio International about the show.
Disaffected by the politics of Thatcherism and an art world overtaken by masculine neo-expressionism, the Neo Naturists covered their nude bodies in paint and burst on to the 1980s’ London club scene in an attempt to explore body image and identity.
A pulse of eroticism runs through this collection of Sinsel’s new work, as he teases the distinction between painting and sculpture, using materials ranging from the ordinary to the rarefied.
This retrospective looks at the work of a group of performance artists from St Petersburg in the late 1990s, who used irony, the grotesque and absurdism to reflect the transitional and uncertain world around them.
Tainted by the myth of erotic undertones, O’Keeffe’s work is shown by this long overdue retrospective to be far broader and more brilliant than is widely known. But it still doesn’t entirely do her justice.
Celebrating moving image from the 1960s to the present day, this exhibition explores experimentation, performance and documentation in film-making.
Cui Xiuwen is a conceptual artist best known internationally as a video film-maker and photographer. A creator of progressive and provocative work, she began her career as a painter and has recently returned to making paintings and sculpture, exploring contemporary formulations for venerable traditions, in combination with new media.
From the poster image for this six-month-long event to the immersive installations of exquisitely resculpted waste at the entrances to the main buildings, this biennale is all about the architect’s role in solving issues caused by dwindling resources.
Despite traumatic experiences early on in life, Niki de Saint Phalle produced vivacious, playful and exuberant works, proof that creativity can emerge from destruction.
Offering the quiet thrill of a cool oasis in the park, the Frick Collection has mounted a connoisseur show of little-known work by a master of his time that both instructs and refreshes.
Burnished by a brilliant installation, this early work shows the storied American photographer already fully in control of the technique and vision that were to so greatly influence generations of artists to come.
In his converted home and studio in south London, surrounded by dogs, myriad staff, an exquisitely kept bonsai collection and apparently endless reserves of champagne, the artist discusses childhood, gardening and his route to becoming a painter.
This exhibition takes the visitor on a whirlwind tour of some of China’s most recent abstract work, ranging from figurative landscapes to digital glitches to the eternity of the circle.
The New York-based conceptual artists talks about growing up among scientists, what drew him to working with silver nitrate, the endangered red crane in the demilitarised zone between North and South Korea.
The artist talks about her new work, now on show at the Mercer Art Gallery in Harrogate, looking at how Capability Brown transformed the English landscape through the manipulation of scale and perspective.
The new pavilion for the Musée National des Beaux-Arts du Québec is a glorious building that nearly doubles the complex’s exhibition capabilities.
The works presented here show some of Carrà’s key metaphysical works, charting his jettisoning of movement, fragmentation and volatility in favour of calmer, more cryptic and perspective-bound compositions.
The first exhibition devoted to the American photographer’s portraiture undersells the works’ beauty, allowing name to triumph over form.
The first UK screening of Chilean artist Alfredo Jaar’s iconic work, A Logo for America, at London’s Piccadilly Circus. It was first shown in New York’s Times Square in 1987, and again in 2014.
This retrospective of prints produced over four decades by Scottish artist Peter Howson, one-time member of the New Glasgow Boys and a former war artist, provides an interesting parallel with his paintings.
The Icelandic artist’s first UK survey exhibition serves up a palimpsest of delights that gives contemporary performance art a good name.