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Eve Fowler: ‘Stein’s work really affected me’

The artist talks about her latest exhibition, What a slight, what a sound, what a universal shudder, at Dundee Arts Contemporary, and what has led her to engage so closely with the work of Gertrude Stein

Eve Fowler. Photograph: Steven Perilloux.
Studio of Katharina Grosse, Berlin, 2018.
Across 11 portrait canvases and one enormous fabric hanging, Grosse’s complex, multilayered works appear as seemingly prehistoric scrawls, imbued with vital energy in a maelstrom of colours.
Junya Ishigami at the exhibition Junya Ishigami, Fondation Cartier pour l’art contemporain. Photograph © Renaud Monfourny.
In his attempts to untether architecture from well-worn conventions, the Japanese architect liberates the architectural expedition from its own stolid norms.
Vera Molnár talking to Studio International in her Paris studio, 11 July 2017. Photograph: Martin Kennedy.
The pioneer of computer-assisted art recounts her love affair with lines, the balancing of order and chaos, and preparing to be surprised.
Phyllida Barlow, Quarry, 2018. Photograph: Anna Kunst, courtesy Jupiter Artland.
As her first permanent artwork, Quarry is unveiled at Jupiter Artland, outside Edinburgh, Barlow talks about its conception and creation, its location in the woods surrounding the house and gardens, and the ‘horrifying’ experience of ceding control to engineers and construction teams.
Li Wang. Beauty Series 1-4, 2015. Chinese woodblock print with water-based colour, 32 x 20 cm.
A microcosm of Chinese art and social change at Ipswich Art Gallery – this group show of works on paper by contemporary artists from China draws on, plays with and subverts the canons of art history from both the east and the west.
Celia Pym in her studio, 2018. Photograph: Janet McKenzie.
Describing herself as ‘an artist who works in textiles’ Pym talks about her recent surgery for mending at the V&A, why she mends old clothes and artefacts, and why she feels it is so important to see the damage and the repair.
Fergus McCaffrey.
Since founding his New York gallery in 2006, Fergus McCaffrey has been instrumental in introducing postwar Japanese art to a western audience. He talks about his deep attachment to Japanese art and craft and his hopes for his new gallery in the heart of Tokyo.
Bedwyr Williams. Tyrrau Mawr, 2016. © Bedwyr Williams. Courtesy of the artist.
The Hayward Gallery’s group show suggests future survival will demand that humans adjust to changing circumstances rather than adapting the environment to maintain their current mode of living.
Stanley Whitney: Paintings. Installation view, Galerie Nordenhake, 2018. Courtesy the artist and Galerie Nordenhake Berlin / Stockholm. Photograph: Gerhard Kassner.
Painting is back, and Berlin’s Gallery Weekend proved a great opportunity to survey its return.
Casey Kaplan's booth at the Dallas Art Fair which featured works by Giorgio Griffa and Matthew Ronay.  Photograph: Daniel Driensky.
The 10th edition of the major art showcase was an affirmation of the city’s commitment to visual culture.
Manuel Mathieu. Loyalty, 2017. Mixed media, 70 x 80 in. Photograph: Guy L’ heureux.
The Haitian artist talks about coming to terms with his country’s turbulent history and some personal challenges, and why he doesn’t take the business of making art lightly.
August Sander. Boxer (Boxers), 1929 (printed 1972). Gelatin silver print, 80.2 x 60 cm (31 5/8 x 23 5/8 in). Photograph: Genevieve Hanson. © Die Photographische Sammlung/SK Stiftung Kultur - August Sander Archiv, Cologne / DACS 2018.
Taken together, the portraits shown here, captured by the German photographer between 1910 and 1931, are a quiet revelation, a unique and emotive window into the collected lives of his countrymen and women in the interwar period.
Divest UAL ‘Die-in’, Central Saint Martins College, London, 2015. Photograph: Georgia Brown.
A reader at the University of the Arts London, Cross talks about his struggle to persuade the university to cut ties with fossil fuel investments and his continuing efforts to bridge the gap between commerce and environmental ethics.
Joan Vasoncelos, 2018. Photograph: Anna Kunst, courtesy Jupiter Artland.
Vasconcelos’s solo show offers a riot of colour and texture in this highly personal, curated sculpture park, celebrating the duality – the glamour and the grind, the dreams and the heartbreak – that typifies women’s lives, on a monumental scale.
Nigel Shafran. London 1994. From Works Books 1984 – 2018. © the artist, courtesy of Sion and Moore.
Newly established gallery project Sion and Moore combines the creative experiences of its two founders with the craft of designer Michael Marriott, achieving an intriguing environment in which to view Nigel Shafran’s tantalising Work Books.
Installation view, Jane Irish: Antipodes, courtesy of the artist, Lemon Hill and Philadelphia Contemporary.
For the first time in its 200-year history, a mansion in Philadelphia is transformed into a major public art project by American artist Jane Irish. She talks about a career spent exploring anti-war activism.
The Ol' Switcheroo, Performance, 2018, Sophie Jung (centre), Sarah Duffy (right), Rebecca Lennon (far right). Courtesy of the artists and Jupiter Woods.
This group exhibition, by the artists Rebecca Lennon, Sarah Duffy and Sophie Jung with curator Carolina Ongaro, is like a brimming basket of foraged goods, a container for ever-changing stories.
Chila Kumari Burman. Photograph: David George.
Burman talks about the inspirations for her intricate, multilayered works, including her latest commissions for the Science Museum and an exhibition honouring suffragettes – and why she bought a tuk-tuk.
D*Face. Love Struck. Enamel and pigment-based paint on canvas. Photograph: Jill Spalding.
Leading the pack of satellite fairs crowding contemporary art week, Frieze, revamped under a new director, and Tefaf Spring quelled art market jitters with safe material and brisk sales.
Rodin in his Museum of Antiquities at Meudon on the outskirts of Paris, about 1910. Photograph: Albert Harlingue. Image © Musée Rodin.
Come to the British Museum to eavesdrop on a conversation across the millennia between Auguste Rodin and Pheidias, his mentor from the fifth century BC.
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