New galleries may not be able to afford to take part in major international art fairs, but they also can’t afford not to.
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In her art, Linder tussles with the stories we choose to tell. Born Linda Mulvey in Liverpool in 1954, she emerged with her ambiguously gendered moniker in the Manchester punk scene in the 1970s.
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It’s hard to keep track of the ways in which Picasso’s 80-year career has been examined (and re-examined), but few curators attempt to cover his entire oeuvre. Picasso and Paper does so through the lens of a medium he liked to manipulate.
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Reading Korean author Bae Suah’s Untold Night and Day feels like a tumble into a surrealist painting. Just as you think you’ve found your footing, time melts away and the line between reality and dreams becomes fluid.
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Before answering my questions about his new exhibition at the Whitney Museum of American Art, New York-based artist Darren Bader says that he has a specific (read: irreverent) style and he hopes it’s not too much of an annoyance.
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Louisa May Alcott’s novel has been read obsessively, and the story has also been obsessively retold. What is it about these little women that we seem compelled to revisit them, generation after generation?
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Winter is a time for hibernation, something the unnamed narrator of Ottessa Moshfegh’s third novel knows all too well. The critically acclaimed My Year of Rest and Relaxation tells the story of an art-history graduate in New York who decides to sleep for a year and emerge reborn.
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I'm sitting on a beanbag in a dark room, staring at a split-screen scored with apple-green blips and streaks of light that – much like a heart monitor – record signs of life.
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When the celebrated feminist artist Judy Chicago missed her connecting flight from Dallas to London for the opening of the first major UK survey of her work, she quipped to her team, “Just think of this as practice for when I’m not here anymore.”
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Dóra Maurer’s most recent paintings are nothing if not playful. In the fifth and final room of her first UK retrospective, colours are caught mid-flight.
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This exhibition at Pallant House Gallery tells the story of a group of early-20th-century female artists in Britain who engaged in progressive art, literature and politics.
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Anish Kapoor, Louise Bourgeois, Rachel Whiteread, Gerhard Richter. These may not be names that spring to mind when you think of the British Museum, but they all have work filed away in its extensive archive of prints and drawings.
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Halfway through the first-ever exhibition devoted to Lucian Freud’s self-portraits is a tiny canvas of the artist with a black eye. After getting into a scrape with a London cab driver, Freud hurried to his studio to document the effects of the blow.
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Dora Maar’s surrealist photographs linger in the memory long after the first look. Take Portrait of Ubu (1936), a melancholy armadillo foetus, or Untitled (Hand-Shell) (1934), where elegant fingers replace the nubby body of a hermit crab, scuttling along the sand.
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Think ‘Pre-Raphaelite’ and you picture luminous paintings of waify maidens with copper-coloured hair, loose clothing and a far-off look in their eyes. Prostitutes, mistresses, sorceresses and other ‘fallen women’ in need of masculine intervention.
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At London’s National Gallery, the first exhibition devoted to Gauguin’s portraits begins with a bang: a room of self-portraits and the announcement that ‘Gauguin was undoubtedly self-obsessed.’
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It’s only fitting that a gallery should focus on portraiture at Frieze Masters. After all, the characters who frequent this fair — and particularly its glitzier sister, a short walk through Regent’s Park — are scrutinised as carefully as the art.
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Tim Walker’s whimsical photographs are instantly recognizable. Think of the giant plastic doll with golden ringlets and rosy cheeks about to step on the supermodel Lindsey Wixson in a 2012 shoot for Vogue Italia.
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