‘Charlotte Salomon: Life? or Theatre?’ at The Jewish Museum, London
Through the relentless interplay between image, music and text, Salomon invents a new genre: autobiographical art.
Paul Mpagi Sepuya at Modern Art, London, presented by Team Gallery, New York
Sepuya’s sophisticated and complex approach to the photographic portrait slows down our consumption of the image, forcing deeper enquiry, more considered engagement.
Trevor Paglen: From ‘Apple’ to ‘Anomaly’ at The Curve, Barbican, London
Paglen’s new commission explores how artificial intelligence technologies are being trained to categorise objects and people, highlighting the hidden prejudices and bias inherent in AI.
Ahead of a major show of David Hockney’s drawings at the National Portrait Gallery opening in February, you can catch a fascinating insight into his printmaking methods at The Lightbox in Woking…
Katinka Bock: Commotion in Higienópolis at Lafayette Anticipations, Paris
In a year of reductive slogans, it is a welcome relief to confront work that deploys a vocabulary – material and linguistic – that is all subtlety, detail and allusion.
The CAS acquires suspended sculpture by Karla Black for Aberdeen Art Gallery
Black’s sculptures integrate traditional art-making materials with substances of the everyday, such cosmetics, cellophane and sugar.
Abad’s practice explores how objects perform a political function and contain ideologies. In doing so, he gives material form to greed and corruption that might otherwise remain abstract.
Major new artwork by Catherine Yass commemorating 100 years of women in law unveiled at The Supreme Court
Legacy, 2019 forms the centrepiece of courtroom 2 and features portraits of three female legal pioneers, including the first woman President of the Supreme Court Baroness Hale of Richmond DBE.
Chance and Control: Art in the Age of Computers at Firstsite, Colchester
A good opportunity to view some thought-provoking examples from early pioneers of computer art, who decided to give part of the decision-making to an intelligence other than their own.
Alfredo Jaar: 25 Years Later at Goodman Gallery, London
I saw Jaar’s ‘The Rwanda Project’ for the first time as a student in 2000, shortly after its completion. 20 years on, it still has the same horrifying and powerful effect.
‘James Welling: Planograph’ at Maureen Paley, London
For more than four decades, James Welling has maintained a photographic practice that goes beyond image-making.