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Painting

In a new book, T.J. Clark scours art historical depictions of divinity for clues about our contemporary age

By Shahidha Bari

The artist’s first UK institutional exhibition at Camden Arts Centre, London, showcases the singularity of her oeuvre

By Nicholas Hatfull
Sue Williams, These, 2018, oil on canvas, 1.8 x 2 m. Courtesy: Skarstedt, London © Sue Williams, 303 Gallery, New York

On view at Skarstedt’s London gallery, US artist Sue Williams’s latest body of work reflects a battle against ‘hating everything’ 

By Hettie Judah

There’s a difference between respecting people’s right to tell their own stories and refusing to look at all

By Olivia Laing

‘Eichwald often reveals her journey through her direct, yet humorous and heady titles’

By Nairy Baghramian
Hugo van der Goes, Vienna Diptych, c.1479. Oil on panel (diptych), 32 × 22 cm (each). Courtesy: Kunsthistorisches Museum, Vienna, and Google Art Project

Recent insights from scholars suggest the famed work may have had a female patron

 

By Mimi Chu
Caragh Thuring, Deep Screw, 2018, oil, line marker, bitumen and graphite powder on  woven cotton and linen, 1.7 × 1.4 m. Courtesy: the artist, Thomas Dane Gallery, London, and Anthony Meier Fine  Arts, San Francisco

Recent paintings by Caragh Thuring, Phoebe Unwin and Clare Woods mine the tension between physical and imagined worlds

By Hettie Judah

The artist’s retrospective, curated by John Baldessari and Meg Cranston at ICA LA, shows how thin the line is between artist and art worker

By Travis Diehl

Meticulous, gently humorous paintings isolate a deeply personal encounter with the obdurate structures of society and culture

By Jonathan Griffin

In the face of 'hyena politics', five artists from the Zimbabwean capital who explore the human form as a symbol of resistance 

By Sean O'Toole

The $21M painting was the highest price ever paid for a work by a living African American artist at auction

A mix of unashamed nudes and demure portraits, Zhao Gang's paintings take in 21st-century China with feigned crudeness and humour 

By Matthew Shen Goodman