Summer Exhibition 2021, installation view, Royal Academy of Arts, London. Photo: © Royal Academy of Arts, London / David Parry.
Yinka Shonibare has transformed this annual event into a paean to diversity, bringing work from the invisible and marginalised alongside that of amateur artists and academicians
Peter Freeth. Would You Adam'n Eve it? Aquatint, 11 × 17 cm. Image courtesy Art Space Gallery.
Peter Freeth’s atmospheric etchings speak of mortality and human frailty with a poignant nod to the impact Parkinson’s disease has had on his life.
Tal R by Martin Herbert, cover; Palmer Park, 2018. Acrylic on cardboard, 453 × 480 cm (178 × 189 in). Private collection.
This book is essential reading for all lovers of painting and contemporary art and culture, shedding light on the ideas and methods behind Tal R’s enigmatic works.
Adam Farah: What I’ve Learned from You and Myself (Peak Momentations/Inside My Velvet Rope Mix), installation view, Camden Art Centre, London, 10 September – 23 December 2021. Photo: Rob Harris.
Farah creates a shrine to Mariah Carey in a coming-of-age journey and a sensory world of nostalgia and indulgence.
Alastair Gordon. Photo: Alastair Gordon.
Gordon talks about the impact lockdown had on his recent paintings, now on show at Aleph Contemporary in London, and his new book, Why Art Matters, which reflects on art seen through the lens of his Christian faith.
Pam Su. Lost and Found, 2021. Photo: Veronica Simpson.
Set in the heart of Britain’s former ceramic manufacturing centre, this inspiring show provides an invaluable platform for artists unafraid of tackling big topics.
Yoan Capote. Photo: Leandro Feal.
The artist talks about his new series of large-scale paintings, Requiem, and how his work is influenced by timeless themes such as migration, death and the sea.
Benny Andrews, Circle, 1973. Oil on 12 linen canvases with painted fabric and mixed media collage, 120 x 288 in. Installation view, The Armory Show 2021. Photo: Jill Spalding.
Defying the pandemic and housed in a radiant new show space, New York’s pre-eminent art fair belied the declared brief of its owner, Merchandise Mart Properties Inc, to prioritise quality over eye candy.
Hans Op de Beeck. Photo: Christophe Vander Eecken, 2014.
The artist talks about art-making as catharsis and why, for him, it is all about the creation of visual fiction.
Portrait of Doron Langberg, 2021. © Nir Arieli.
As his first London gallery show opens, the Brooklyn-based artist talks intimacy, immediacy and queer subjectivity.
The Lost Leonardo, directed by Andreas Koefoed. Film still.
Directed by Andreas Koefoed, this riveting documentary about the controversial Salvator Mundi, the most expensive artwork ever sold, exposes a tale of global power, money and politicking.
Graham Little. Courtesy: Alison Jacques, London; Photo: Robert Orchardson.
Ahead of his new exhibition at Alison Jacques Gallery, the Scottish painter talks about the male gaze, motherhood and the mountains of the mind.
Bellini, Miracle of the True Cross. Image © Prestel.
Well-researched, accessible and bringing new insights to the works of the period, this is not a book to be rushed. Delvings into the complexities of this intriguing era and how it shaped art, Wolf instils the desire to know more.
Matthew Krishanu. Photo: Jens Marott.
Krishanu, whose figurative paintings explore childhood, religion, colonialism and empire, talks about why he works from photographs, his hope that viewers will inhabit the people in his paintings, and his inclusion at a forthcoming show at the Hayward Gallery.
Yamashita Kikuji (1919–86). Bunker-1, 1966 (detail). Oil on canvas, 130 x 194 cm. © The artist. Courtesy Gallery Nippon, Tokyo.
A dizzying array of 400 years of artworks from the capital is testimony to the ability of the Japanese people to reinvent themselves.
Angela Heisch in her studio. Photo: Will Kitchings.
As she prepared for her first solo UK show, at the Pippy Houldsworth Gallery in London, Heisch spoke of how these new works are very much summer paintings, with the colours used to radiate energy, exuberance and motivation.
András Wolsky, Inter-Space No. 3, 2021. Wood, canvas, acrylic, three pieces each 55 x 55 cm. Photo courtesy of the Hungarian Cultural Centre, London.
A snappy group show offers a snapshot of Hungarian art today, as filtered through the influence of the conceptual polymath Dóra Maurer.
Matthew Wong, Footprints in the Wind, 2016. Ink on rice paper. 38 x 35 in (96.5 x 88.9 cm). ©2021 Matthew Wong Foundation / Artists Rights Society (ARS), New York. Photo: Alex Yudzon / Cheim & Read, New York.
This riveting exhibition of 24 of Wong’s ink drawings takes us deep into the complex, and unsettling oeuvre of the artist, whose tragic death lends additional intensity to the show.
Tess Jaray. St Stephen's Green, 1964. Oil on canvas, 183 x 152 cm (72 1/8 x 59 7/8 in). © Tess Jaray. All rights reserved. Courtesy Karsten Schubert London. Purchased with the support of Amis du Centre Pompidou, Cercle International, 2020.
With work from 1960 to 2000 reproduced as found, with rubbings and calculations, Jaray’s book offers a rare insight into the creative act.
Studio International spoke to Uzoigwe, via Zoom, during her residency at Watts Gallery, August 2021.
The artist talks about her residency at Watts Gallery – Artists’ Village responding to the work of Henry Scott Tuke – both his plein air paintings of boys on the beach, but also his interest in mythology.
Thomas Joshua Cooper. North! The First Landing Site, Afternoon Drifting Fog, the Spring Equinoctial Ice Flow--The North Atlantic Ocean, L'Anse aux Meadows Natural Historic Site, the Northern Peninsula, the North-Most Point of the Isle of Newfoundland and the Site of the First Known European Contact with the New World, Canada, 1998. Gelatin silver print. Long loan in 2019. © Thomas Joshua Cooper.
Thirty-five vast black-and white photographs transport us to unbearably beautiful and heartbreakingly fragile locations at the furthest reaches of the globe.
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