Installation by Neil Brownsword acquired for The Potteries Museum & Art Gallery
Adopting the role of both artist and archaeologist, Brownsword unearths discarded by-products from closed Staffordshire ceramic factories to create sculptures that reflect on the forces of globalisation and the local economy.
Ron Nagle: Amended Testimony at Stuart Shave/Modern Art
Ron Nagle’s beautifully installed first ever UK solo show offers a new perspective on the history of ceramic sculptures as an art form.
Documenta 14, Kassel
This edition of documenta offers a rare chance to see works by female artists, indigenous artists and older artists who have been neglected by the market.
‘Into the Unknown: A Journey through Science Fiction’ at Barbican Art Gallery, London
“We are only seeking Man. We have no need of other worlds. We need mirrors.”
Maeve Brennan: The Drift at Chisenhale Gallery, London
Brennan’s portrait of three individuals in Lebanon is sensitive, sympathetic and nuanced, all the while overlaid with the optimism inherent in the metaphorical act of mending.
Morehshin Allahyari, She Who Sees The Unknown: Ya’jooj Ma’jooj at The Photographers’ Gallery
Finding herself literally “walled out” of her own country during Donald Trump’s first attempt at the Muslim travel ban, Iranian-American artist Morehshin Allahyari explores the Qur’anic story of Ya’jooj and Ma’jooj
The CAS-commissioned No End to Enderby by Graham Eatough and Stephen Sutcliffe, which explores Anthony Burgess’ Enderby novels, will be premiering at the Manchester International Festival, one of a number of must-see events in the city this month.
Aspen Online Art Award relaunched for 2017 as the Aspen Digital Art Award
The value of the award has doubled from £5,000 to £10,000 allows a greater range of work to be commissioned.
Eight collages by John Stezaker acquired for Birmingham Museum and Art Gallery
The collages respond to a key series of work in Birmingham’s collection, ‘Pygmalion and the Image’ (1875-78) by Edward Burne-Jones, and was completed whilst Stezaker was curating an exhibition there.
Dineo Seshee Bopape
Her work undermines the machismo of land art; her use of soil as a sculptural material couldn’t be further from that of Walter De Maria’s minimalist ‘Earth Rooms’ of the 60s and 70s.
Jordan Wolfson at Sadie Coles HQ
These are bitingly sardonic works that operate nimbly across a multiplicity of media, negotiating the complexity of many different allusions without ever being explicit about references.