The exhibition Reframed: The Woman in the Window explores the acts of looking and being looked at, framing, and art making.
In an action at the museum this weekend, participants made impassioned speeches calling for the return of the sculptures and sang “Happy Birthday” to the Acropolis Museum.
The daylong demonstration culminated in a mass action and occupation of the museum after hours.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
Lubaina Himid’s Tate exhibition is a conversation, a rhetorical question, an experiment. Like opera, from which it draws its inspiration, it aims to be “a total work of art.”
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.