Peintures Carrées is an exhibition of works on square, screen-reprinted Plexiglas by artist Jean-Marc Bustamante. The artist incorporates design and architectural space into his work.
The show’s title puts in mind an idea of declassification and redefinition. It is borrowed from Bataille, whose Critical Dictionary was printed as a section of his surrealist journal Documents.
Helen Carmel Benigson is media-savy that is for sure; her work layers colour, print and sound to create immersive, dreamlike and hyper-sensual installations that explore themes of female empowerment.
Diane Arbus revolutionised the art she practised. Her bold subject matter and photographic approach produced a body of work that is shocking in its purity, in its steadfast celebration of things as they are.
Aesthetica has featured Coggles’ new campaign, Street Styles Series, which aims to promote the brand’s primary mission of including personality into their designs for people not models.
The seaside town of Margate boasts Turner Contemporary, a gallery that celebrates JMW Turner, who made Margate his home for a number of years, and international artists from abroad.
Gupta uses interactive video, websites, objects, photographs, sound and public performances to probe themes such as desire, religion, security on the street and on the imagined border.
“Touching stories picked from a wound. Positive angles wrenched from their sockets,” reads a pair of lines from Running Light: a text that accompanies Lis Rhodes’ exhibition of the same name.
Found Objects have been popular as a medium since Robert Rauschenberg began experimenting with the discarded and lost in the 1950s. The idea of making something out of nothing was intriguing.
Since its inception, The F.E. McWilliam Gallery has gained an impressive reputation for programming important retrospectives of Irish Modernists and innovative thematic exhibitions.
Spanning 25 years of a practice embedded in historical and empirical research, Zarina Bhimji portrays buildings and architectural surfaces as “protagonists” in an unpeopled landscape of violence.
Last Days of the Arctic is a moving and insightful photographic portrait of a disappearing landscape and the Inuit people who inhabit it, by celebrated photojournalist Ragnar Axelsson.
The Sound of Two Songs is Mark Power’s photographic survey of Poland, formed and collected over five years. He made his first visit to Poland as part of a project to capture countries joining the EU.
Alex Dordoy’s work exists at the threshold of completeness and often retains the potential for change, or even destruction. He uses a range of materials including glass and plaster.
There are certain exhibitions whose titles are so ambiguous and nonsensical that even before attending the show you are met with a quiet sense of dread on whether you will get it.
The fifth annual Northern Art Prize, worth £16,500, has been won by Merseyside-based artist Leo Fitzmaurice, it was announced at Leeds Art Gallery.
Vorticist!, Kettle’s Yard’s latest show, draws deserved attention to a sculptor whose career was as important and impressive as it was brutally short.
Museum Show Part II, the second part of the Arnolfini’s ultimate 50th anniversary exhibition, continues exploring the preoccupations touched upon by Museum Show Part I.
Mosse is known for his restraining and aestheticised views of sites associated with violence and fear, such as his depictions of the war in Iraq, and his photographs of aeroplane crash sites.
