Angelica Mesiti, Over the Air and Underground, 2020. Installation view, Angelica Mesiti: In the Round, Talbot Rice Gallery, University of Edinburgh, 2021. Photo: Sally Jubb.
Mesiti skilfully choreographs our experiences, guiding us around the gallery and immersing us in the worlds of bees, trees and ancient music in her evocative sound and video installations
Emma Cousin. Monopoly, 2021. Oil on canvas, 140 x 90 cm. Image courtesy of Niru Ratnam Gallery.
Cousin’s paintings are named after childhood games, but the contorted life-sized figures and faces in her paintings appear to be engaged in more complicated mind games.
Gerhard Richter. 22. Juli 2020, 2020. Pencil, ink and coloured ink on paper, 42 x 59.3 cm. Copyright © Gerhard Richter 2021 (19032021) Courtesy the artist.
In his first major London show in a decade, including more than 60 recent works, Richter demonstrates a variety of approaches to drawing.
Sarah Sze. Double Take Apparition, 2021. Oil paint, acrylic paint, acrylic polymers, ink, aluminum, diabond and wood, 262.2 x 328.2 x 7.9 cm (103 1/4 x 129 1/4 x 3 1/8 in). © Sarah Sze. Courtesy the artist and Victoria Miro.
The boundaries between painting and sculpture are blurred in Sze’s works, where pictures within pictures become portals into another world that only the viewer can enter.
Surrealism Beyond Borders, installation view. Courtesy Metropolitan Museum of Art, Anna Marie Kellen.
For three months in New York, and then at the Tate Modern, visitors will be treated to that increasingly rare phenomenon in museum show business – a teaching exhibition. A blockbuster, yet not, so bouleversé you may not be, but enlightened you shall.
Bourse de Commerce (The metal and glass dome was installed in 1812 and renovated by Tadao Ando Architect & Associates, Niney and Marca Architects, Agency Pierre-Antoine Gatier), Paris. Photo: Indefini, Public domain, via Wikimedia Commons.
Tadao Ando’s renovation of this majestic building in the heart of Paris, and the appointment of Emma Lavigne as CEO, promise that this new museum will play a singular role in the art world.
The Duchess of Cambridge meeting with Catsou Roberts, director of Vital Arts, at the Royal London Hospital. Photo: Arthur Edwards.
Roberts, the director of Vital Arts, which commissions projects for five London hospitals, talks about the range of artists and work involved and the transformative power of art on the wellbeing of patients and staff.
Mixing It Up: Painting Today, installation view, Hayward Gallery, 2021. Courtesy of Hayward Gallery. Photo: Rob Harris.
In an uplifting show that is dizzying in its scope and variety, 31 contemporary artists celebrate diverse images and ideas.
Katharina Grosse, Shutter Splinter ( detail), 2021. Photo: Veronica Simpson.
For 2021, the inaugural Helsinki Biennial and Helsinki Design Week wore their hearts on their sleeves: showcasing art and design in an ethical, environmentally responsible framework that placed nature, craftsmanship and creativity in the service of community, both local and global.
Phyllis Christopher. Photo: Kate Sweeney.
The photographer talks about her coming of age in 1990s San Francisco, where, despite the Aids crisis, lesbians, in the post-lesbian feminist era, largely wanted to come together, have fun and create visibility.
Restitution: The Return of Cultural Artefacts by Alexander Herman, published by Lund Humphries.
As western nations increasingly give consideration to the repatriation of stolen artefacts, cultural heritage law expert Alexander Herman takes us on a fascinating tour of the legal, ethical and political issues involved  .
Noguchi. Installation view, Barbican Art Gallery, London, 30 September 2021 – 9 January 2022. © Tim Whitby / Getty Images.
Aiming to bring sculpture into people’s everyday lives, Noguchi mixed cultural traditions with modern techniques. The sculpture, lighting, furniture, theatre sets and playground models on show here are a measure of his success.
Turi Simeti (1929-2021): A Homage, installation view, The Mayor Gallery, London, 2021.
A tribute to Turi Simeti presents an encapsulated overview of a major figure of Italy’s postwar avant-gardes.
Simone Fattal: Finding a Way, installation view, Whitechapel Gallery, London, 21 September 2021 – 15 May 2022. Photo © Whitechapel Gallery.
This is a staggering show, dominated by five unsettling figures, whose abstraction echoes the artist’s explanation that they are embarking on a journey of transformation.
Edward Ruscha, Pain Killers, Tranquilizers, Olive, 1969. Oil on canvas, 50.8 x 61 cm. Courtesy of the Christen Sveaas Art Foundation/DACS.
Images of dramas, dreams and moonlit dinners await visitors at the Whitechapel Gallery, in an exhibition imagining a journey on the most enchanted of night trains.
Adam Jeppesen in his studio, Villa Ruiz, Argentina. Photo: Charlotte Haslund.
The Danish artist talks about why he left documentary-making to make art, the project that took him from the north pole to Antarctica, and the thoughts behind the work in his latest show, his first solo exhibition in the UK.
Gijs Van Vaerenbergh. Photo © Jimmy Ketz.
The architecturally trained duo Arnout Van Vaerenbergh and Pieterjan Gijs talk about their collaborative practice, and how they seek to create new experiences for themselves and the visitor.
Ibrahim Mahama: Lazarus. White Cube Bermondsey, 15 September – 7 November 2021. © the artist. Photo © White Cube (Todd-White Art Photography).
Through sculptures, installations and film, the Ghanaian artist repurposes objects from colonial and post-independence to show the impact failed companies and crumbling infrastructure have had on the people of his country.
Jasper Johns, Flag, 1954-55. Encaustic, oil, and collage on fabric mounted on wood (3 panels), 41.25 x 60.75 in (104.8 x 154.3 cm). The Museum of Modern Art, New York, NY; Gift of Philip Johnson in honor of Alfred H. Barr, Jr. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York.
Last of the last, with Baldessari gone, of the great philosopher-artists, Jasper Johns is taking a twinned victory lap around two major museums in a bifurcated retrospective that confirms his place in the pantheon.
Mit Jai Inn, Midlands Dwelling, 2021. Oil, colour pigment and glue on canvas, 310 x 837 x 670 cm / Acrylic on canvas on metal 61 x 232 x 77 cm. Installation view, Mit Jai Inn: Dreamworld (2021). © Ikon Gallery. Photo: Stuart Whipps.
Suffused with Buddhist philosophy overlaid with political overtones, the extraordinary works of this Thai artist can be touched, walked over and, in some cases, taken home for free.
The Story of the Country House: A History of Places and People by Clive Aslet, published by Yale University Press.
From a medieval manor house to a modern-day folly, Clive Aslet whisks us through time and place on a fascinating tour of British country houses.
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