Paul Carey-Kent

The artist’s first major UK retrospective reveals the claustrophobic emptiness of the paintings from his key decade

By Paul Carey-Kent

The Belgian sculptor’s new work in San Gimignano reflects on mortality, medieval assertions of power and the migrant crisis

By Paul Carey-Kent

In Perret’s two crafts-filled shows at MAMCO, Geneva, and Spike Island, Birstol, she draws from the fabular women of New Ponderosa

By Paul Carey-Kent
Rivane Neuenschwander, History and Infancy (WAR), 2017, installation view, Stephen Friedman Gallery, London. Fabric, silkscreen paint, rope, twine and glacial boulders, dimensions variable. Courtesy: Stephen Friedman Gallery, London

Stephen Friedman Gallery, London, UK

By Paul Carey-Kent
Oliver Beer, Devils, 2017. Courtesy Galerie Thaddaeus Ropac; photograph: Steve White

Galerie Thaddeus Ropac, London, UK

By Paul Carey-Kent
Fred Tomaselli, Bloom (Dec. 17), 2017, acrylic and ink on paper, 111 x 166 cm. Courtesy: the artist and White Cube, London and Hong Kong

White Cube, London

By Paul Carey-Kent

Hollybush Gardens, London, UK

By Paul Carey-Kent
Jamie Fitzpatrick, The Gentleman (detail), 2016. Courtesy Vitrine, London; photograph: Jonathan Bassett

 Vitrine, London, UK

By Paul Carey-Kent
Michael Simpson, left: Squint 20, 2015, oil on canvas, 2.2 × 1.2 m; centre: Squint 27, 2015, oil on canvas, 2.3 × 1.1 m; right: Squint 18, 2015, oil on canvas, 2.1 × 1.2 m. Courtesy the artist and Spike Island, Bristol; photographer: Stuart Whipps

Spike Island, Bristol, UK

By Paul Carey-Kent