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Painting

An exhibition at Croy Nielsen, Vienna, explores the female gaze on a world which seems murkier than ever

By Kimberly Bradley
Gladys Nilsson, A Cold Mouth, 1968.  Courtesy: © the artist and Garth Greenan Gallery, New York

In two shows at Goldsmiths CCA and Hales Gallery, London, Nilsson furthers her life-long alchemization of objects and limbs 

By Philomena Epps
Tofer Chin in his studio. Photograph: Joshua White. Courtesy: Frieze/Joshua White

Frieze global partner LIFEWTR marks the inaugural Frieze Los Angeles with a publicly accessible artwork at The Standard DTLA by L.A.

Jeff McMillan, The Possibility of an Island, 2009, found paintings (detail). Courtesy: the artist and Peer, London. 

‘In this false universe of positive gloss and shallow passions, where can a real enthusiasm be located?’

By Darian Leader

‘These works render the real, estranged personalities of our present perturbing, alluring; exquisite’

By Gabriella Pounds
Hilary Lloyd,  Painting Assistant, 2018, specially commissioned for frieze’s 200th issue. Courtesy: the artist

‘The people from whom I learn most are enthusiasts, who take my soul to places I never knew existed.’

By Jan Verwoert

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