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.
An exhibition of drawings by Donald Judd opens tomorrow at Sprüth Magers London. Covering nearly the entire period he made three-dimensional work, the show is curated by Peter Ballantine.
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.
