This is not the sort of behaviour typically encountered in an art installation. In the foyer of Carriageworks, seven hand-painted caravans are being poked and prodded by curious audiences.
The importance of creativity in advertising has been widely recognised for decades. A creative ad campaign has to be both divergent and relevant.
Global Lens is a touring film exhibition, organised annually between MoMA and the Global Film Initiative. It is designed to encourage filmmaking in countries with emerging film communities.
Graham Sutherland (1903-1980) was an official World War II artist from 1941-44. He was commissioned to paint scenes of bomb devastation, as well as work in mines, quarries and foundries.
Below the gilded King Edward VII chandeliers and between the Italian travertine engraved marble walkway the exhibition Contemporary Art in Northern Ireland is situated in The Great Hall of Parliament Buildings at Stormont.
We Have A Body is a comprehensive solo exhibition by Mette Winckelmann. Winckelmann initiates a dialogue with Den Frie Centre for Contemporary Art’s architecture and history.
United Enemies brings with it the spirit of Arte Inglese Oggi – a 1976 British Council show featuring the work of many of the artists included – but concentrates on the complex nature of British sculpture in the 1960s and 1970s.
This year the arts have been subject to a double squeeze – big falls in business contributions to the arts coupled with the much documented cuts to funding from the public sector.
Dislocated Flesh features the work of Julien Ottavi and Jenny Pickett. This new body of work stems from their long term collaboration exploring perception, memory and architecture.
Mark Handforth’s (b. 1969) Rolling Stop opened at the Museum of Contemporary Art in North Miami, for Art Basel Miami Beach. Curated by MOCA Executive Director Bonnie Clearwater.
The main room of South London Gallery is entirely taken up by Birnbaum’s Arabesque. Before even entering the room, the flowing piano of Robert Schumann’s composition Arabesque Opus 18 reaches out to draw one into the space.
Taking its place in Chapter’s 2011 roll call directly after Resident, WITH Collective’s über-conceptual Autumn show, Paloma Varga Weisz’s solo outing at the Cardiff gallery is a difficult one to approach.
Since their original publication in 1865, Alice in Wonderland and Through the Looking Glass have had an unprecedented influence on the visual arts.
When Mario Testino announced Glasgow-based Martin Boyce as the winner of this year’s Turner Prize at the Baltic last Monday night, he accepted the award with modesty to the point of bashfulness.
The Craft Council celebrates 40 years of the Crafts Council Collection with a major online show 40:40 – forty objects for forty years that launches today.
At Aesthetica we encourage creativity and innovation, fostering artists and writers through the Aesthetica Creative Works Competition. This year’s competition saw a fantastic response.
This December Coldharbour London Gallery will be exhibiting The Day The Factory Died, a collection of never-before published photos by acclaimed fashion photographer Christophe Von Hohenberg.
This year’s August/September issue featured the work of Lara Jade, a fashion, portraiture and commercial photographer who has worked with brands such as Sony and magazines such as Elle.
The Bloomberg New Contemporaries has long presented art lovers with an annual snapshot of emerging talent from the next generation of artists in the UK. The first exhibition was held in 1949.
In her explorations of representation and social status, Sarah Baker often disseminates her artwork unconventionally to heighten the tension between fabrication and authenticity.
The Turner Prize will be awarded at BALTIC Centre for Contemporary Art later this evening, during a live broadcast on Channel 4, to an artist under 50, born, living or working in Britain.
The Icelandic ash cloud of 2010 brought many parts of the world to a halt, and showed international societies just how fragile our technological networks really are, despite advanced machinery.
Brooklyn quintet Milagres’ debut album bursts into life with more than a hint of Human League style 1980s electropop in rousing opener Halfway.
The Pompidou Centre stages a new exhibition detailing the place of dance in art history and its influence on visual arts.
You won’t find a more powerful piece of Americana than the title track on First Aid Kit’s new album. The Lions Roar is immense; dark skies over the open prairie.
It would be impossible to call the music of Hyperpotamus derivative, and you won’t have ever heard an album like Delta.
For listeners who are familar with this DJ and producer’s secret performances at festivals, this record is a disco-pulsed trip down memory lane.
Tel Aviv Museum of Art is that rarest of institutions: an art gallery with a political legacy. The original building was the former home of the first mayor of Tel Aviv, who bequeathed the property in his will.
There are unseen lines that cross the earth, lines that make little concession to land or water but are owed and owing to both, through industry and habitation.
Lunch Break is an unsentimental, yet deeply humane, portrait that examines the changing roles of workers, depicting the drastic shift in the social, political and economic landscape of the 21st century.
Were you to walk down a street today and look through the windows of the houses, you would witness a wide variety of living spaces: homeowners today are preoccupied with design and the arrangement of the world around them.
This year’s Taylor Wessing includes thought-provoking and captivating works. Jooney Woodward won this prize for her portrait, Harriet and Gentleman Jack.
The UK film climate has changed dramatically over the past 12 months; why on earth would anyone start a new short film festival? ASFF Director, Cherie Federico, tells us in her own words.
Winner of several awards, Director Pablo Giorgelli discusses his latest film and how subtle direction creates powerful beauty.
When Véronique Chambon, a quietly beautiful schoolteacher meets Jean, a traditional family man, the pair embark upon a love affair that is just as demure as Véronique’s wardrobe choices.
Filmmaker Mark Cousins travels to Iraq with three small video cameras. His intention is to allow the children to re-imagine their country.
In July 1942, thousands of French Jews living in Paris were taken away – first to the cramped, nearby Velodrome, then to the concentration camps.
For a second feature, Kill List is a remarkable accomplishment of the kind that usually comes much later in a director’s oeuvre.
Set against the backdrop of Finsbury Park, Sallie Aprahamian’s feature debut tackles hardship, obligation and moral choices.
Based on Joe Gores’ novel of the same name, Wim Wenders’ film is the fictional imagining of how mystery writer Dashiell Hammett began his career.
The Aesthetica Short Film Festival (ASFF) was a dynamic, four-day international event that took place in the City of York from the 3 – 6 November.
Camilo Echeverri’s series SuperWomen employs a deliberate reworking of visual vocabulary, subverting notions of nostalgia, happiness and myth.
Each issue of Aesthetica features works by rising stars in photography from around the world. The following images are a highlight of this year’s works.
Christoph Benjamin Schulz, guest curator at Tate Liverpool, has a particular interest in and extensive knowledge of how Lewis Carroll has influenced the visual arts.
Musical comedy is a hard genre to crack, and even the brightest stars are often sidelined. Here’s how a so-called niche genre is getting its groove back.
Vitamin P2 is a compendium for new international painting, acting as a guide to the styles, themes and subjects in today’s most recognisable works.
Artists who sit outside the traditional cultural framework of the art world often go unnoted; the concept of outsider art still provokes uncertainty, questioning the legitimacy of art and artistic behaviour.
Wild Flag’s credentials are undeniable. The band has just released their first album to critical acclaim. We caught up with Janet Weiss to talk about the band.
This text demonstrates how Elmgreen & Dragset’s sculptures and installations reconfigure the familiar with characteristic wit and subversive humour.
Eckersley’s vision of nocturnal London dissembles the conventional imagery of built environments where abandoned estates and neon-lit corner shops reign.
