On Saturday afternoons over the past five years, photographer Casey Orr set up pop-up portrait studios in 14 cities and towns across the UK, including Leeds, Preston and Cardiff, waiting for young women to come along dressed up for the weekend. In all she photographed about 600 of them for her Saturday Girl project, which explores identity and self-expression. âThereâs a certain time when a woman becomes visible in the world and thereâs a power in that,â says Orr, who is also a lecturer at Leeds Beckett University. âIt becomes a currency; the way you present yourself and the clothes you wear can be very creative and playful. Itâs a really sophisticated thing.â A selection of these images are on show until 14 April at Format international photography festival in Derby, each over a metre wide (to be âexperienced more as paintingsâ) and a book will be published by Bluecoat Press later in the year.Continue reading... [ + ]
The aftermath of Cyclone Idai, the crisis in Venezuela, mourning after the attacks in New Zealand and Holi celebrations in New Delhi â the week captured by the worldâs best photojournalistsContinue reading... [ + ]
This weekâs addition to our weekly archive print series is a portrait of Judi Dench, photographed at her home in north London by Frank Martin in 1977
There are rave reviews â and there are the reviews that the Royal Shakespeare Company got for its 1976 production of Macbeth, starring Ian McKellen and Judi Dench. The Guardianâs Michael Billington declared he would remember the sound of the daggers rattling in Macbethâs hands until his dying day. The play transferred to Londonâs Donmar Warehouse â then called The Warehouse â in September 1977, which was the occasion for this relaxed, intimate portrait by Guardian photographer Frank Martin at Denchâs home in north London. âShe is a modest, practical, straight-talking woman who wears denim, no makeup and a borrowed plastic mac for lunch in a Hampstead restaurant,â wrote the journalist Janet Watts of Dench in the article accompanying the photograph. Martin used only natural light to capture his subjectâs direct gaze, which is reflected and lit beautifully in the mirror.Continue reading... [ + ]
The Sacklers own Purdue Pharma, the company behind OxyContin, which is under fire amid the opioid epidemic
The Tate group of British art galleries has announced that it will no longer accept any gifts offered by members of the Sackler family, who own the US maker of OxyContin. The prescription painkiller is under fire amid the opioids public health crisis in America.
The decision came two days after it was agreed the National Portrait Gallery would no longer accept a ÂŁ1m gift from the Sacklers. Several major arts institutions on either side of the Atlantic have long benefited from Sackler donations; the London gallery was the first to decline money from the family.Continue reading... [ + ]
Junya Ishigamiâs involvement in London gallery project attacked after email listing conditions for an intern is published
The Serpentine Gallery in London has come under fire after it was claimed that its chosen architect for this yearâs pavilion, Junya Ishigami + Associates, uses unpaid interns who are expected to work 12-hour shifts for months.
The acclaimed 44-year-old Japanese architect was picked by the Serpentine to design its 19th annual pavilion project, which offers international architects the chance to build their first structure in the UK. But according to the Architectsâ Journal, the firmâs Tokyo Office makes use of interns in a manner that would be deemed highly controversial in the UK.Continue reading... [ + ]
The American painter, one of Chicagoâs Hairy Who, creates satirical and captivating polymorphous figures
Gladys Nilsson was a member of the Hairy Who, six graduates who made Chicagoâs art scene hot and edgy in the late 1960s. Meshing art history with comic books, advertising, music, circus and street life, their bold, graphic paintings and drawings conjure trippy, sexy, satirical scenes in step with an era that saw the rise of the womenâs movement and the underground press.Continue reading... [ + ]
The curator, who has died aged 55, was the only person to curate both the Venice Biennale and Documenta, helped redefine what African art could be and provided a platform for the likes of Steve McQueen
Okwui Enwezor, who has died aged 55, was a peerless, charismatic Nigerian curator who helped place non-western art histories on an equal footing with the long-established narrative of European and North American art. Part of a generation of auteur curators who rose to prominence in the 1990s, he, more than any other, was one with a mission.
âThe way I see it, it is like night and day. The 80s and before was the colonial, Jim Crow, and apartheid days put together,â Enwezor said in 2005. âIt was completely acceptable to the curators of the period that contemporary art did not happen in places like Africa, Asia, South America or the Middle East âŠ globalisation transformed the myopia that previously ruled.âContinue reading... [ + ]
Museum of Modern Art, New York
The uses, abuses and future of technology since 2000 are explored in an exhibition of Louise Bourgeois holograms, cyborg exercise equipment and lab art
To think computers were not supposed to make it to the new millennium. MoMAâs New Order: Art and Technology in the 21st Century never mentions the Y2K bug, although perhaps it should have. The 21st century has never been without the strange panic with which it began.
Presenting art made between 2000 and 2017, New Order starts in the immediate aftermath of Y2K, which turned out to be no big deal. While the old order was manufactured and full of junctures, the new order desires seamlessness. Generations have integrated industrial and postindustrial technologies into their lives. The old order was built; the new order is born.Continue reading... [ + ]
Goldsmiths Centre for Contemporary Art, London
Wildly graphic and often eye-poppingly nasty, the nightmarish creations of the Chicago Imagists echo the tumult of their era
The art of the Chicago Imagists of the 1960s and 70s provokes spluttering questions, and answers in a similar spirit. Incarnated as the Hairy Who, the Nonplussed Some, and various other names reminiscent of niche 60s rock groups before they made it big, the artists who came to be known as the Chicago Imagists (not a bad band name itself, come to think of it, if a bit too arty) were cartoonish and clever and possessed of a wayward graphic elan. Now at Goldsmiths Centre for Contemporary Art in a Hayward travelling exhibition, this is the first UK show of their work in almost 40 years.
All alumni of, or teachers at, the School of the Art Institute of Chicago in the fervent era of student protest, political assassinations and the Vietnam war, the Chicago Imagists were very much of their time and place. But little of the cataclysmic events surrounding the 1968 Democratic Convention in Chicago â with mayor Richard J Daleyâs police running amok, and the air filled with teargas and Mace â got into their art, except by way of the curdled, visceral quality of many of their images.Continue reading... [ + ]
The architects who designed the London Eye have now created a beautiful, approachable and eco-friendly new place of worship in Cambridge
A mosque, points out the architect Julia Barfield, has no fixed appearance. It varies with location: in Egypt, in AndalucĂa, in Turkey, in Indonesia, on the Arabian peninsular, wherever Muslims need a place to pray, the building takes on the characteristics of the local style. In China it might be a series of pavilions with pagoda-like roofs; in sub-Saharan Africa it might be built of mud bricks or rammed earth. It might be covered by a single dome, or many, or by a flat roof supported on multiple columns. It might be made of stone, or timber, or concrete.
In Britain, mosques go back to the late 19th century, when one was hollowed out of an existing terrace in Liverpool and another was purpose-built in the Surrey town of Woking. Yet it is still not entirely clear what the typical style of a British mosque might be: the most common approach, often driven by the demand to serve as many people as possible within limited budgets, is to build a plain box that is then decorated with motifs referring to the main country of origin of the congregations â Ottoman for Turks and Cypriots, Moghul for people from the subcontinent â or from which the bulk of the funding came.Continue reading... [ + ]
National Gallery, London
There is no doubting Sorollaâs love of light and the way it plays on all kinds of surfaces. But does anything lie beneath?
JoaquĂn Sorolla (1863-1923) â pronounced Soroya â is not a name on many peopleâs lips. Insanely popular in his day, to the extent that New Yorkers queued in heavy snow to view his large and florid paintings, he is almost forgotten in ours. Or at least he might be, if not for his virtuoso effects and his singular reputation as the master of Spanish sunlight.
Sun seen through the rising wave, the billowing sail and the gauzy muslin veil. Sun dancing across spring lawns, igniting summer blossoms and striking the golden beaches of his native Valencia. Sun reflected in cool ponds, flickering between the trees in Sorollaâs sumptuous garden, and sparkling through the fountains of the mighty Alhambra. It is hardly possible to stand before these enormous canvases, thick with paint, without feeling at least something of their appeal, a combination of the obvious and comfortable relish in their making, and the irreducible beauty of sunlight itself. Sorolla is, in every respect, a sunny painter.Continue reading... [ + ]
Van Goghâs British connection, master of pop decadence Gary Hume and Swiss mystic Emma Kunz â all in our weekly dispatch
Van Gogh and Britain
The turbulent painter of the modern inner life spent a short but critical time in Britain and remained a lifelong reader of English literature. How did Britain shape him â and how has he shaped modern British art?
âą Tate Britain, London, 27 March to 11 August.
Vibrant youth culture and a flourishing music scene leap out of the west African photographerâs Peuple de la Nuit, featuring the musicians, dancers and lovers who graced his hometownâs hottest venuesContinue reading... [ + ]
As he powers into his 80s, the photographer recalls shooting everyone from Kate Moss to Andy Warhol, shares his regrets over voting leave â and reveals how Gordon Brown pulled a fast one on him
âYou look knackered,â says David Bailey, greeting me at his studio. Itâs up a small mews and sprawls so casually across two floors that it still feels like the 60s inside. âLook at you,â he says. âYour buttons arenât even done up right.â I look down at my jacket: that bit is true. But I tell him: âIâm not tired!â
âI was watching you walking along the street,â he says. âI thought, âThat must be the journalist, she looks knackered.ââ The combination of acuity (he must be right: he is, after all, the one who makes a living with his eyes) and demonic overfamiliarity (by this point, we are holding hands; I have no idea who started it) is disarming. If this is his shtick, itâs working on me, totally and overwhelmingly. Or maybe he has a tailored shtick for everyone he meets.Continue reading... [ + ]
The quirky home features dinosaurs and a sign proclaiming âYabba-dabba-dooâ, but neighbors arenât amused
California architecture has captured the worldâs imagination with its classic midcentury bungalows and beach houses. But one architectural landmark in the state has gone a distinctively different route, and itâs not to the townâs liking.
The âFlintstonesâ home in northern California appears to take its architectural cues from the town of Bedrock. The experimental house was built in the 1970s using a technique that involved spraying concrete to create curved walls. The result is a building where Fred and Wilma would feel at home, and it has become a landmark for drivers passing on I-280.Continue reading... [ + ]