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Despite the vast differences in the style and intention of their work, this exhibition attempts to show how Munch’s imagery entered Johns’s psyche and then lay dormant for years, only to resurface transformed
Sophie Jung. Leader Abend (from Facts and Fingers), 2016. Performance / mixed media installation. Photograph: Kunst Halle Sankt Gallen, Stefan Jaeggi.
The performance artist talks about Chinese encyclopaedias, the Austrian feminist playwright Elfriede Jelinek, and her family of actors.
Karen Russo. Haus Atlantis, 2016. 16mm film transferred to digital, 9:38 min.
The artists talks about her two most recent films, Haus Atlantis and TET-Stadt, which centre on the buildings and ideas of the German expressionist architect and Nazi sympathiser Bernhard Hoetger.
Pat Steir. Dragon Tooth Waterfall, 1990. Oil on canvas, 92 x 132 1/2 in (233.7 x 336.6 cm). © Pat Steir, 2016. Courtesy Dominique Lévy, New York / London.
This dramatic selection of the American artist’s painting from 1990-2011 marks her first London show for 26 years.
Installation view, Laura Owens, Sadie Coles HQ, London, October 5 – December 16, 2016. Courtesy the artist / Gavin Brown’s enterprise, New York / Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne.
Laura Owens’s dynamic abstract paintings, accompanied her own quirky audio guide, ensure there is never a dull moment in this vibrant exhibition.
Magnus Plessen. Untitled (30), 2016. Oil and charcoal on canvas, 96 7/16 x 78 3/4 in (245 x 200 cm). Photograph: Prudence Cuming Associates Ltd.
The German artist talks about his latest show at White Cube in London, which includes paintings done in the past two years as part of his continuing project, 1914, looking at the horrors inflicted on first world war soldiers.
Stanley Spencer. Neighbours, 1936. © the artist's estate / Bridgeman Images. Courtesy Stanley Spencer Gallery, Cookham.
This bite-size exhibition offers a concise but surprisingly thorough overview of the artist’s life in, and love for, Cookham; his complex personal relationships; and his dedication to depicting everyday domestic life through a religious lens.
Euan Uglow. The Blue Towel, 1982-83. Oil on canvas laid on plywood. Jerwood Collection. © The Estate of the Artist.
The UK may be struggling with its identity in a globalised world, but the artists of the past century knew exactly who we were, as seen in this joyous and playfully curated sweep through 20th-century British art.
Maureen Gallace. Long Island (with Vance), 2016. Oil on panel, 25.4 x 25.4 cm (10 x 10 in). © Maureen Gallace, courtesy Maureen Paley, London.
For her third solo exhibition at Maureen Paley, London, the New York-based painter shows a group of new works that continue to mystify with their enigmatic portrayals of secluded houses and nature scenes.
Erik Bulatov. Danger, 1972-1973. Oil on canvas. Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union at the Zimmerli Art Museum at Rutgers. © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris. Photograph: Peter Jacobs.
As viewers, we witness Moscow conceptualism caught in a perpetual bind between the Romantic obscurity of the “inside” and the unattainable transparency of the “outside.” For us, then, Moscow conceptualism remains incurably Romantic.
Joel Shapiro, Moderna Museet, Stockholm, 1980. © Joel Shapiro.
The influential American sculptor, now in the fifth decade of his career, brings out his wood wall reliefs from the late 1970s for their first survey exhibition, at Dominique Lévy in New York, along with a new installation.
Nicholas Monro’s King Kong on the cover of Studio International, July/August 1972.
Two of the 14 original sculptures are accompanied by other work from that time, alongside maquettes and models, and documentation from a special edition of Studio International produced to accompany the 1972 project.
Franciszka Themerson. Calligramme II (‘plus’), 1960. Red emulsion and black enamel paint on paper, 52 x 63 cm.
This exhibition reveals Themerson’s ability to conjure life and emotion out of a single line in her drawings, or convey a whole interior landscape through her rich, densely worked paintings.
Emma Elliott. Blood Is Not Wet, 2016. Print, dimensions variable. © the artist.
The Passion For Freedom ambassador talks about her current project, which brings together the stigmata of the crucifixion and the Holocaust, seeking to create a dialogue of unity and reconciliation within a fractured society.
James Ensor. Self-portrait with Flowered Hat, 1883. Oil on canvas, 76.5 x 61.5 cm. Mu.ZEE, Oostende. Photograph: MuZee © www.lukasweb.be - Art in Flanders vzw. Photograph: Hugo Maertens / © DACS 2016.
Ensor’s star has remained dim in the UK. This small exhibition of his works, selected by fellow Belgian and lifelong admirer Tuymans, establishes Ensor as a major figure of his era.
Installation view of Wael Shawky, Castello di Rivoli, November 3, 2016 – February 5, 2017. Photograph: Renato Ghiazza
With two exhibitions of his work opening in Italy this month, Wael Shawky talks about his film-making, connecting literature with myth and history, and why he uses marionettes and children as his protagonists .
Anthea Hamilton. Photograph: Lewis Ronald. Image courtesy the artist and The Hepworth Wakefield.
The Turner Prize-nominated artist talks about her experience of reimagining the Kettle’s Yard collection at the University of Cambridge in a contemporary and collaborative fashion.
György Jovánovics talking to Studio International at The Mayor Gallery, London, 5 October 2016. Photograph: Martin Kennedy.
The Hungarian neo-avant-garde relief artist unravels his enduring interest in the abstract possibilities of drapery, his belief that reliefs should be afforded the status of a fine art in their own right, and the difficulties of staying connected to contemporary art behind the iron curtain.
Peter Wächtler. Far Out (2016). Installation view, Chisenhale Gallery, 2016. Commissioned and produced by Chisenhale Gallery. Courtesy of the artist. Photograph: Andy Keate.
The Berlin and Brussels-based artist discusses the benefits of repetition, grappling with tradition, and being an extra in a film with Tom Cruise.
Piotr Lakomy: Room Temperature, installation view, The Sunday Painter, London.
For his latest instalment at the south London gallery The Sunday Painter, the Polish artist poses questions about our relationship to the objects, architecture and nature that surround us.
Ai Weiwei at Lisson Gallery, New York City, 5 November 2016. Photograph: Miguel Benavides.
Ai Weiwei is showing at four New York City galleries simultaneously. To mark this, Royal Academy America hosted an informal event at which Ai talked to members and the general public about his work and his mission.
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