The London-based artist Simon English talks about chance, addiction and the wilful act of drawing.
In this exhibition, which includes seven photographs and several blank walls, the US photographer investigates systems of meaning and classification.
Mud, blood, fire and water: a touring exhibition of the Cuban American artist affirms her continuing relevance while revealing her formidable skill as a film-maker.
In a riveting, large-scale work called Moss Ball: A Meditation on the Overview Effect (2018), E.V. Day makes some unlikely, and therefore all the more intriguing, connections.
Mark Fox, who was brought up as a Catholic, has issues with certain of the religion’s doctrines and belief systems, in what he calls a “love/hate response”.
After the pop-up symposium Lines of Thought at Trinity Buoy Wharf, the new partner for what was formerly the Jerwood Drawing Prize, practitioners and educators Tania Kovats and Kimathi Donkor talked about drawing in education and practice today.
In celebration of its 25th anniversary, the Arthur M Sackler Museum of Art and Archaeology at Peking University has invited 14 artists from around the world to submit work that emphasises the universality of the language of art.
To mark the 50th anniversary of this pioneering publication and exhibition, Cybernetic Serendipity: The Computer and the Arts has been reprinted and is available to purchase.
![Edward Bawden. [Aesop’s Fables] Gnat and Lion, 1970. Colour linocut on paper. Trustees of the Cecil Higgins Art Gallery (The Higgins Bedford), © Estate of Edward Bawden.](/image_home.php?image=images/articles/b/074-bawden-edward-2018/Aesops-Fables-Gnat-and-Lion.jpg)
The Dulwich Picture Gallery examines the vibrant world of Edward Bawden with a typically joyous exhibition.
The 16th Architecture Biennale focuses on freespace – in which buildings are engaging, inclusive and accessible to all and use the Earth’s resources wisely. And the curators, Shelley McNamara and Yvonne Farrell, have mostly succeeded in their aim to offer a ‘box of treasures’.
Goody, herself of Dalit heritage, talks about discrimination in India against the Dalits and how, in her first solo exhibition, she is using photographs of her family and turning Dalit literature into recipes, to highlight the significant and complex relationship with food among a people historically denied it.
The artist discusses the transmigration of the soul, the transformative properties of clay, and using art as a way of mourning.
The Benin-born artist Thierry Oussou reflects on his artistic practice, the need for repatriation of cultural objects, and art and culture in Africa more generally.
Tai Xiangzhou is committed to a traditional lexicon, his ink paintings magnificent, deeply indebted to classic Chinese ink paintings while they simultaneously demonstrate the influence of baroque and mannerist paintings and contemporary practices.
Frieder Nake’s work 12/7/65 No. 2, 1965 is a pioneering example of computer art in which the image is wholly machine-generated. It has “zero meaning”, he likes to say, even if somewhat ironically.
Chinese artist Cui Xiuwen died in Beijing, where she was based, on 1 August, at the age of 51, after a protracted illness. She was born in Harbin, Heilongjiang province in 1967.
Cui Xiuwen, one of the most important avant-garde artists from China, passed away yesterday, leaving behind a unique collection of artworks devoted to life. She was selfless and worked hard for the benefit of humanity .
The artist talks about The Eclipse, an installation comprising thousands of paper kites, and Never Comes Tomorrow, which references cosmology and history and is covered in hundreds of political stickers.
The sculptor talks about learning traditional crafts, the Smithsons’ Solar Pavilion, creating an exhibition for Mexico, and how her work resembles choreography.
The Human Figure in Space returns this Turner Prize-winning British artist to his longstanding interest in the photographer Eadweard Muybridge. Here, Wallinger reflects on spectatorship and the mirrored world.
With Wilding’s show Right Here and Out There and Peake’s RITE on concurrently at the De La Warr Pavilion in Bexhill, the artists talk about their practice.
Stirring and challenging, this frontal look at ecstasy revels in desire as it pits the age-old tradition of nude models against our #MeToo moment.
Patricia Guzman’s expertly executed realism makes her paintings appear photographic, as she documents faces that attract her sympathy, often closeup.
This major retrospective of the work of Thomas Bayrle brings together works from the past 50 years and throws an unsettling light on the nature of society.
Prager revels in cliche and it is clear from the large Technicolor photographs and the handful of films shown here that subtlety holds no interest for her. I am left wondering what it is that she intends to add to the conversation.
Bao Pei uses ink and paper in the tradition of Chinese ink painting, but makes her work abstract, and uses knives instead of brushes because she believes the delivery of the ink, the markings, are more forceful that way, conveying greater emotional depth and range.
Centred around the theme of “performance”, this show cleverly connects the art, film and theatre worlds, which cross over not only in Edinburgh’s summer festival lineups, but also in Dean’s work to date.
The Turkish artist known for her distinctive works with Post-it notes talks about how she turns them into 3D paintings, her love of repetition, political humour, and her latest project, to turn a soap factory into an art space.
With more than 1,900 works, the Kluge-Ruhe Aboriginal Art Collection at the University of Virginia is the largest collection of Indigenous art in the US. Here, Margo Smith, the director, and Henry Skerritt, the curator, talk about the museum and its work.
This beautifully curated display includes work from the pioneers of digital art of the 1950s and 60s through to the younger generations practising today.
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