Curiously, Dubuffet’s anti-hierarchical approach to art did not translate to similar views on society.
During the two-day protests, activists explained that they “won’t stand by and let the Science Museum green-wash Shell’s reputation.”
In Packer’s canvases, swathes of abstraction express aspects of human experience that lie beyond representation.
With Bloom, Trevor Paglen collapses distinctions between the real and virtual, laying bare the prejudices embedded in supposedly objective artificial intelligence systems.
In A Countervailing Theory, her current exhibition at the Barbican Centre, Ojih Odutola’s alternative histories take on a more epic, mythic scale.
Titled simply Miranda July, Prestel’s excellent new “mid-career retrospective” of the artist highlights July’s enduring interest in the very darkest aspects of human existence.
The documentary Lifeline recounts Still’s life, career, and legacy — and how they were shaped by his cantankerous temperament.
While the ecological aspect of Suter’s work is particularly timely, her obvious enjoyment of pure color and form makes her artworks all the more enduring.
Hundreds of activists occupied the British Museum for a protest lasting over two days straight, coinciding with the BP-sponsored exhibition Troy: Myth and Reality.
BTS, described as the “biggest boy band in the world,” announced an international public art project with 22 contemporary artists across five cities. Its first exhibitions opened at London’s Serpentine Galleries and Berlin’s Gropius Bau.
In Homelands, artists variously characterize home as “a transient dwelling,” “an ongoing process,” and “other people.”
Activist group BP or not BP? interrupted the opening of Troy: Myth and Reality at the British Museum, dressed as “living statues,” including a character of their own invention, “Petroleus.”