The towering canvas is stupefying – not for nothing is it said that soldiers invading his studio during the sack of Rome were so amazed that they let Parmigianino continue painting. Here, too, we see his preparatory drawings, evidence of the artist toiling to achieve his masterpiece.
This compact but rich show delves into the many facets and meanings of water as represented in the past 400 years of art history.
The artist’s first major retrospective, 30 years after his death, reveals a powerful talent, a pioneer in bio- and installation art, with a potent message about fear of other and of biological, social and political contagion.
This innovative, elegantly assembled show of the South Korean artist gives us a glimpse into the ideas and methods that underpin his research-based, explorative and collaborative works.
White Cube presents a generously portioned survey of the trailblazing conceptual photographer, from his disquieting re-enactments of everyday life to his recent mannerist experiments.
For the first time, the “unpindownable” Carrington is defined in terms of her own person and her art, not her male lovers.
Dean discusses Crescendo, his installation of a 15-metre ladder decorated with his signature coloured dichroic stained glass, in the Saint-Denis Cathedral Basilica in Paris.
The Manchester-based painter’s first institutional show lifts the curtain on altered states, sensuous drapery and ecstatic pleasure.
This show focuses on Sulter’s moving-image and spoken-word archives, in which warmth, familial relationships and a political poetics are brought into resounding harmony, as she explores her Scottish Ghanaian heritage.
From a dress made from 200 lightbulbs to works made by computer, the Tate takes us on a dizzying, dense trip through half a century of electrically augmented art, fretted with optimism for a future that never came.
Through her colourful and theatrical characters, Berrío draws on folklore and mythology as she explores how the history behind customs and rituals has been lost in the modern world.
Rituals inspired by ancient rites, pagan myths and respect for landscape and place underpin the work of the artist who, at 82, is being celebrated this month with her first major solo show.
This year’s festival, which explored the role of art in contemporary ecology and environmental action, ranged from the most traditional of crafts to speculative contemporary performances.
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The septuagenarian artist’s world premiere of Ark: United States V, at Manchester’s Aviva Studios, was a journey of visual, verbal and musical storytelling exploring the artist’s and the US’s history.
A new exhibition celebrates the 150th anniversary of the birth of impressionism, specifically musing on the movement’s development within the Netherlands.
As a busy year draws to a close, the Turin-based abstract painter discusses his numinous abstract paintings.
Works by Jarman are complemented by commissioned responses from six contemporary artists, leading to a candid and poetic exhibition. Don’t miss it.
Co-curated by Sonia Boyce, this concise exhibition shows how Clark’s geometric abstraction in the 50s gave way in the 60s to a greater focus on sensory experience and connection with her audience.
While medieval texts may best be understood as a collaborative production, not deriving from a single authorial voice, this blockbuster exhibition nevertheless successfully presents medieval women – from and in all walks of life – in their own words.
What is it to be a woman who doesn’t have all her shit together and to be making work that is quite salacious or tongue in cheek? Lindsey Mendick opens up.
This small show is important in showing the shifts that took place between the early and late work of one of Britain’s first openly transgender artists.
Sixty years after Pasmore and Heron showed together at the eighth São Paulo biennial, this abridged reimagining of the show provides a history lesson on two of Britain’s pioneering abstract artists.
Enkhtur’s ephemeral sculptures, carved from his signature beeswax and aluminium, subvert the visual references they portray, riffing on the randomness of meaning and toying with our sense of reality.
