- Emma Malden @ Fine Art Society
30 October – 21 November
The first exhibition of the work of sculptor Emma Maiden is presented, and it features a selection of new sculptures in stone and bronze. Maiden is best known for her primitive carved stone sculptures of figures and animals. Her pared-down aesthetic, reminiscent of Romanesque carvings or Cycladic figures, gives her works a stillness and simplicity of form. Maiden draws inspiration from works she has studied in ethnographic collections, such as the Pitt-Rivers Museum, British Museum, and the Ashmolean, as well as literary sources such as Milton’s ‘Paradise Lost’. Recurrent themes in her work include birds, mothers and children, solitary figures, and faces.
- Eileen Cooper @ Fine Arts Society
30 October – 21 November
This is Eileen Cooper’s first solo exhibition at the gallery Till the Morning Comes. The show will feature __ new paintings by Cooper as well as a series of life study drawings inspired by the English National Ballet’s recent production of Giselle choreographed by Akram Khan. Throughout her career, Eileen Cooper’s bold and dynamic paintings have presented a dream-like vision of the world. Her stylised images of women, animals, and couples are full of energy and movement and often show her subjects dancing, floating, or flying in incongruous backgrounds. She has an abiding interest in the eternal feminine, in ideas of love, sexuality, and human relationships.
- Mary Lloyd Jones @ Martin Tinney Gallery
8 November – 25 November
This latest exhibition consists of approximately 30 new paintings, in which Mary Lloyd Jones explores the traces left by our ancestors, the fields & hillsides, and the scars left behind by the lead-mining industry. These vibrant, energetic and colourful works combine to create a luminous exhibition that shows Mary still at the height of her powers in her 83rd year.
- Merike Estna @ Kunstraum
29 September – 25 November
Merike Estna's solo-exhibition, Fragments from the Shattered Toe incorporates an intricately painted stage/floor painting which, over the course of the exhibition, hosts a series of performance events from international dancers, musicians and artist, against a backdrop of Estna’s large-scale curtain painting and other new works. In her practice Estna seeks for the conceptual integration of painting and daily life, often inscribing the languages, processes and applications of painting onto scenic design and stage-setups. Estna embeds patterns and colour combinations derived from applied arts vocabularies – which haven't traditionally been accepted in the discourse of painting – juxtaposed with what have become familiar motifs of digital communication. Estna's work challenges the masculine territory of painting and questions the strict visual separation between painting and craft discourses.
- Sue Campion @ Twenty Twenty Gallery
28 October – 25 November
Sue Campion RBA is primarily a colourist. She works in oil and pastel combining wonderful rich colours with a strong sense of pattern and design. The subject of her works range from Shropshire hills and portraits to the Thames and southern Europe.
- Sofia Hulten @ Ikon Gallery
13 September – 26 November
Here’s the Answer, What’s the Question? a selection of sculptures, installations and films in the most comprehensive exhibition to date of work by Berlin-based artist Sofia Hultén. Conveying an ongoing preoccupation with the nature of the material world and the way we navigate it. Hultén’s engaging thoughtfulness suggests that things do not have to be as they seem normally in everyday life.
- Anna Molska @ Ikon Gallery
13 September – 26 November
Polish artist, Anna Molska, explores modernist and socialist utopias through her work, and uses them as a pretext for the analysis of contemporary reality. Molska’s 12 minute film The Weavers (2009) is based on Gerhart Hauptmann’s 1892 play inspired by the 1844 rebellion of Silesian weavers against the poverty of their lives and harsh working conditions. The play is also the subject of a series of prints currently being shown at Ikon that established Käthe Kollwitz’s reputation as a major artistic figure in Germany before the First World War.
- Carla Borel @ A22 Gallery
16 November – 26 November
Drawing on themes of identity, community and intimacy, Homme Libre explores ideas of masculinity seen from a female perspective. The striking and intimate portraits are of men the photographer, Carol Borel is either close friends with, very loosely knows, or met in the street or on the tube. Straight, gay, trans, and from various professions and backgrounds, the sitters in Homme Libre have an edge of some sort, be it in their stance and attitude, an air of mystery and romance, strength and vulnerability, or they have reminded Borel of someone she used to know or saw in a film.
- Kathe Kollwitz @ Ikon Gallery
13 September – 26 November
Käthe Kollwitz (1867–1945) was one of the leading artists of the late nineteenth and early twentieth centuries, notable for the emotional power of her drawing, printmaking and sculpture. She lived an intensely examined life, expressed in her numerous self-portraits, diaries and correspondence; at the core of this existence was her work as an artist and a mastery of graphic art which quickly established her reputation in Germany, then further afield as her influence spread internationally after the First World War. Establishing herself in an art world dominated by men, Kollwitz developed a vision centred on women and the working class.
- Judy Pfaff @ Messums, Wiltshire
23 September – 26 November
Set in a 13th Century Barn, the largest of its type in the country, the 140-foot long sculptural installation is an ode to the creative strength of a landscape that inspired Stonehenge, Salisbury Cathedral and the ancient dwellings of England. Made of wood, chalk, stones, root balls from 300-year-old Sycamore trees and found modern materials it is a celebration of the creative vitality of this area of Wiltshire best known as the Cranborne Chase. Judy Pfaff, now 71, is a pioneering American installation artist who describes her work as ‘painting in space’ was awarded the MacArthur Fellowship – one of the most prestigious accolades for art in the US – combining sculpting, painting and printmaking to make immersive installations. The exhibition, which also features paintings and drawings, is the first Pfaff has held in the UK.
- Sylvia L Martin @ Gloucester Guildhall
1 November – 30 November
This exhibition, Flowers of Earth and Buds of Heaven is a collection of fine botanical watercolours and poetry celebrating the natural beauty of the Earth, by Sylvia Martin, who paints commissions for pleasure and occasionally exhibitions, and Cedric Pickin, who recently published two books of poems ‘Reaches’ and ‘Postspectus’.
- Sophie Ryder @ Hignell Gallery
3 October – 1 December
Sophie Ryder’s latest exhibition TEPOZTECO is staged in two London locations - Hignell Gallery in Shepherd Market, Mayfair and an open air exhibition in St. James’s Square. The artist’s newly conceived character, the ‘Boar’ will be introduced for the first time.
- Janet Q Treloar & Alice Mumford @ Piers Feetham Gallery
9 November – 2 December
An exhibition of works by Janet Q Treloar RWS and Alice Mumford RWA called Table Talk.
- Katharina Grosse @ South London Gallery
28 September – 3 December
For her first solo exhibition in London, Katharina Grosse presents a new work, This Drove my Mother up the Wall, painted in situ at the Gallery. Grosse’s large scale and site-specific works engulf both interior and exterior spaces, unhindered by the traditional boundaries of the pictorial field. In the main exhibition space, Grosse has made the void the dramatic centre of her project, masking the floor with a large foam stencil, then painting over it and the surrounding walls. Once she removes the stencil, a bright, white area of floor is revealed, untouched by the veils of colour and broad, propulsive marks spreading to all sides. This filtering technique is also evident in Grosse’s recent canvas works, where stencils are placed over areas of the canvas at various stages of the painting process, resulting in chromatic layers that record her thoughts and actions.
- Katharina Grosse @ South London Gallery
28 September – 3 December
Grosse’s large scale and site-specific works engulf both interior and exterior spaces, unhindered by the traditional boundaries of the pictorial field. In the South London Gallery’s main exhibition space, Grosse has made the void the dramatic centre of her project, masking the floor with a large foam stencil, then painting over it and the surrounding walls. To accompany the painted installation, Grosse has selected two documentary films to be screened in the first floor galleries, intended to frame her creative practice and research interests. In the short documentary from the series Women Artists (2016) by Claudia Müller, Grosse curates a fantasy exhibition by eight other female artists and discusses her selection of artists and artworks, the relationship between their practices, and guides the viewer through a virtual realisation of her ideal group exhibition. The second documentary film is The Gleaners and I (2000), by Belgian director Agnès Varda, and deals with the marginal, the residual, and the invisible.
- Liane Lang @ Eton College
11 November – 9 December
Old School is a solo exhibition of new photographic and sculptural work made by Liane Lang while an artist in residence at Eton College in 2014. Lang was the first female artist to be awarded the James McLaren residency at Eton College and follows in the footsteps of other luminaries such as Hughie O’Donoghue RA and Norman Ackroyd CBE RA. For this show curated by Marcelle Joseph, Lang, in typical fashion, engaged in comprehensive historical research to excavate the stories buried beneath the façade of this illustrious boys’ boarding school founded in 1440 by King Henry VI. An artist’s book accompanies this exhibition, with text written by Sabina Andron.
- Hannah Black @ Chisenhale Gallery
22 September – 10 December
Some Context is structured around 20,000 copies of The Situation, a book made up of transcribed, edited and censored conversations between the artist and friends about ‘the situation’. This theme is interpreted differently in each conversation. The books provide the stuffing – in shredded form – for the ‘transitional objects’ also displayed in the space, and will be shredded at the end of the exhibition. In this new body of work Hannah Black continues to develop her enquiry into the production of, and the gaps between, practices and theories of subjectivity and collectivity. Some Context gestures towards the various potential uses of art’s uselessness – as comfort, as worship, as text and as archive
- Tamsin Relly @ TM Lighting
27 September – 15 December
This Autumn, an exhibition of work by contemporary artists, Tamsin Relly and Henry Hussey, will go on display for three months at the London-based art lighting specialists, TM Lighting. Curated by Jo Baring of the Ingram Collection, the exhibition is a collaboration with TM Lighting as part of the art lighting company’s ongoing programme of exhibitions supporting emerging artists.
Hussey and Relly will collaborate for the first time in a two-person exhibition ‘Planet on Fire’. Their works both address current socio-political and environmental issues. Relly’s multi-layered, tonal and expressive paintings will juxtapose Hussey’s bold striking works in tapestry, alongside a selection of new original prints by both artists.
- Barbara Brown @ The Whitworth, Manchester
17 March – 15 December
Barbara Brown was the golden girl of Heal Fabrics in the 1960s and early 1970s. Talent-spotted as a student, her designs for furnishing fabrics are some of the most striking and unusual ever produced in the 20th century and won awards from the Council of Industrial Design. This is the first major solo exhibition of her work in the UK.
- Heather Morison @ Berrington Hall
10 June – 15 December
Discover a brand new installation, Look!Look!Look! in our Walled Garden from internationally renowned artists Heather and Ivan Morison. Taking their inspiration from how the Harley's enjoyed their garden in the Georgian era, you can see the garden in a totally new light with this brilliant piece of artwork.
- Lotte Laserstein @ Agnew's Gallery
9 November – 15 December
Lotte Laserstein (1898 – 1993), started her career in the Berlin of the 20s and 30s, and was one of the first women to complete her studies at the Academy of Art in Berlin, before leaving the country in 1937. She first exhibited at Agnews in 1987, where she was present and was a lively collaborator. This show Lotte Laserstein’s Women, is devoted to her intimate and nuanced depictions of women. A particular focus of the exhibition is to reinstate her in the canon of 20th Century art form, from which she and many other women artists of the inter-war period were excluded, and to acknowledge her as one of the great women artists of the 20th Century.
- Heather Morison @ Berrington Hall
21 October – 15 December
Inspired by the decadent social lives of the Georgians, Heather and Ivan Morison have brought to life the first stage of this plan with their contemporary creation, 'Look! Look! Look!', which now features in the garden. It is a project supported and partially funded by Trust New Art and the Arts Council England. Its form is inspired by the story of pineapples being imported and eaten during the eighteenth century as a statement of wealth and we've found evidence of them being grown in the garden at Berrington. The Georgians were also fond of popping up temporary pavilions made from wood and canvas or material for shelter whilst, entertaining, dining, reading or even for illicit meetings. Heather and Ivan also have an exhibition inside the mansion, which complements and coincides with the outdoor installation. Contemporary, as well as historic, pieces are used to provoke thought and discussion about the project, its history and its meaning.
- Suzi Morris @ Herrick Gallery
28 November – 17 December
A fascination with the independent nature of oil paint and its capacity to modify and spread unpredictably, led Suzi Morris to discover a synergy that seems to exist between the substance of oil paint and viral behaviour. The sciences of virology and genomics capture her imagination in multifarious ways and have become a medium through which decisions are made in her painting. Working in multiple layers of glaze using high resin oil colour Morris’ paintings become a sensory discovery through the substance of oil paint and its material formulation. The Viral Sublime, the title of her project, has taken Morris into laboratories and instigated collaborations with scientists. These partnerships have a profound effect on her imagination and the decisions she makes in painting. The development of her painting and use of paint draws deeply on the imaginative processing resulting from a lifetime of medical treatment in suppressing Keratitis. The paintings are in part, projections of her imaginary perception of the interior landscape of the body: cerebral images of abstract thoughts on parts of the body that remain unseen to the naked eye. Vertical lines function as ‘biomarkers,’ which reference the measurable indicators in the body and pay homage to the strengths and vulnerabilities of the human spirit.
- Anya Gallaccio & others @ Estorick Collection
20 September – 17 December
Fifty years after the first Arte Povera show, this exhibition looks at how it has informed the work of several British artists who graduated from art schools in the 1970s and 1980s. It traces their different affinities with a way of working that went beyond modernism in terms of its interest in the personal and subjective, its rejection of a coherent style and its promotion of artistic freedom. Works by Eric Bainbridge, Tony Cragg, Ceal Floyer, Anya Gallaccio, Mona Hatoum, Jefford Horrigan, Stephen Nelson, Lucy Skaer, Gary Stevens, Jo Stockham, Gavin Turk and Richard Long – who participated in the first international Arte Povera event in Amalfi in 1968 – are shown alongside pieces by key Italian artists including Alighiero Boetti, Mario Merz, Giulio Paolini, Giuseppe Penone and Gilberto Zorio.
- Nnenna Okore @ October Gallery
26 October – 21 December
A new exhibition, There's a Time for Everything by Nnenna Okore. is her third solo exhibition at the gallery. The proverbial Igbo axiom Ụkwa Ruo Oge Ya Ọ Daa, references the theatrical falling of breadfruit from the mother tree. The plummet of this tropical fruit, known in Igbo as Ukwa, not only indicates the height of its ripening phase, it also sparks the genesis of a new trajectory - the decaying stage. Symbolically the fallen Ukwa represents metamorphic processes that are constantly injected into the natural cycle to establish cosmic balance and planetary order. These fascinating twists and turns bring into being new realities, seasons, chapters, formations and systems. Okore’s practice explores these subjects of ephemerality and transformation. Her intricate works contain rich textures, and reveal extraordinary manifestations of colour and formations, often resembling organic elements in nature, such as roots, veins, and flora. Each visceral sculpture is created through various repetitive and labour-intensive techniques, like teasing, twisting, dyeing and sewing, applied to natural materials such as cheesecloth, burlap and paper, which only serve to further accentuate these natural elements.
- Juana Gomez @ Michael Hoppen Gallery
2 November – 22 December
Chilean artist Juana Gómez's hand embroidered photographic canvases combine the spheres of scientific exploration with ancestral tradition. Weaving complex scientific and mythological patterns onto images of both her own and her daughters' bodies, her work is interested in placing mankind within a broader context of interconnectivity. Rather than seeing us as individuals, dethatched from one another and the world around us, Gómez positions us as part of an ancient chain that goes back to the origin of life: a combination of patterns, molecules and small organisms. The title of the exhibition Distaff defines both the matrilineal branch of a family, and also the 'domestic life,' describing a tool that bears the same name used for manually spinning fleece. Both meanings are relevant to Gómez's work, as she utilises weaving and embroidery to explore the themes of genealogy, mythology and biology within her own female lineage.
- Jenny Holzer @ Blenheim Palace
2 October – 31 December
In Softer, Jenny Holzer create new work that directly addresses our military and political history in relation to themes which have figured prominently in her practice since the 1980s: power, conflict and activism. Alongside many new works, the exhibition will use augmented reality to explore the potential of the virtual space via a dedicated app and will also feature the artist's well-known work with LED signs. Visitors can also explore more meditative areas which will feature examples of Holzer’s best-known work.
- Rita Ackerman @ Hauser & Wirth, Somerset
30 September – 1 January
‘Turning Air Blue’ extends through two galleries and doubles as an organic continuation of Somerset’s rural setting. Rita Ackerman's exhibition starts in the Rhoades gallery, which features a body of work titled The Coronation and Massacre of Love. The paintings are large-scale compositions on canvas primed with chalkboard paint, on which washes of white chalk and green and blue pigments have been applied. These Abstract Expressionist-like works are reminiscent of actual chalkboards in a classroom, covered with unintentional erasures and marks, yet they have been conceptually executed by multiple deletions of figurative drawings and landscapes.
- May Morris & others @ Blackwell The Arts & Crafts House
15 September – 1 January
This exhibition highlights the diverse skills of the women artists and designers associated with the Arts and Crafts Movement. It recognises works by women artists whose contributions have often been overlooked, or wrongly attributed in favour of a more prominent male family member. Textiles, jewellery, bookbinding, enamels and illustrations by May Morris, Margaret Macdonald, Ann Macbeth and Phoebe Anna Traquair will be displayed.
- Rita Ackermann @ Hauser & Wirth, Somerset
30 September – 1 January
Turning Air Blue is an exhibition of new works by Hungarian born, New York-based artist Rita Ackermann. It extends through two galleries and doubles as an organic continuation of Somerset’s rural setting. The Rhoades gallery features a body of work titled ‘The Coronation and Massacre of Love’ that are large-scale compositions on canvas primed with chalkboard paint, on which washes of white chalk and green and blue pigments have been applied. These Abstract Expressionist-like works are reminiscent of actual chalkboards in a classroom, covered with unintentional erasures and marks, yet they have been conceptually executed by multiple deletions of figurative drawings and landscapes. By way of these gestures, the revenant outline of the erased drawings often emerges into the foreground. The final picture is a record of these movements. The exhibition continues into the Bourgeois gallery, which comprises two bodies of work: ‘Turning Air Blue and Nudes’. The paintings titled Turning Air Blue are large-scale pigment paintings on canvas where translucent figures suggest a feminine shape.
- Paula Rego @ Jerwood Gallery, Hastings
21 October – 7 January
The Boy Who Loved the Sea and Other Stories has at its heart a body of new paintings, drawings and sculptures, inspired by a 2005 story by Hélia Correia called The Boy Who Loved the Sea. It provides the starting point for this exhibition that will also investigate both Paula Rego's genius for story-telling and her strengths as an artist.
- Larissa Sensor @ Chapter, Wales
14 October – 7 January
Larissa Sansour is an interdisciplinary artist, working in video, photography, installation and sculpture to create overtly political works that explore and approximate the realities of life in Palestine. References and details ranging from sci-fi and spaghetti westerns to horror films converge with Middle East politics and social issues to create intricate parallel worlds in which new value systems can be decoded. In the Future They Ate From the Finest Poreclain features, at its heart, a film of the same name that combines live motion and computer generated imagery to explore the role of myth in history, fact and national identity.
- Emma Hart @ De La Warr Pavilion
28 October – 7 January
LOVE LIFE is Jonathan Baldock and Emma Hart’s most ambitious collaboration to date: a radical reimagining of the traditional seaside show Punch and Judy. LOVE LIFE ACT III draws on the history of the Pavilion, originally designed as a ‘people’s palace’ to provide culture and entertainment for all. Through sculpture, moving image and sound, the artists transform Punch and Judy’s puppet booth living quarters into an oversized, darkly humorous place in which the pressure of domestic life is combined with the ever-present threat of violence.
- Naomi Hart @ Royal Albert Memorial Museum & Art Gallery
3 October – 7 January
Naomi Hart has been travelling all her life and records her journeys in sketches and paintings exploring how myth and reality can coincide within the same landscape. From the forests of France to the deserts of Australia, the exhibition Some Far Off Magic Land conveys a sense of place and the mystery that we can find there. The title of the exhibition comes from a quote by Ann Davison, the first woman to sail solo across the Atlantic. 'Forgetting all the discomforts, the terrors, and the weariness, I wished I was back aboard, preparing to set out for some other far off magic land ...'
- Rebecca Warren @ Tate St Ives
14 October – 7 January
A significant British artist, Rebecca Warren’s exuberant, roughly-worked sculptures and neon vitrines engage with the canon of art history. Warren first came to prominence in the 1990s and exhibits widely in Europe and the United States. This new exhibition, All that Heaven Allows will draw connections between her practice to date and the geographical context and artistic legacy of St Ives.
- Rachel Kneebone @ The Foundling Museum
29 September – 7 January
Rachel Kneebone is a British artist whose intricate works address and question the human condition. Five porcelain sculptures are display amongst the Museum's historic collection. Raft of the Medusa’s tumbling limbs and fractured swags are at once coquettish and ominous; their gleaming white surfaces and exquisite detail belie scenes of turmoil and collapse. Using porcelain, a delicate material traditionally associated with fine tableware and Rococo exuberance (as exemplified by the plasterwork in the Museum’s Court Room), Kneebone subverts viewers’ expectations. Visibly exploiting the material properties of porcelain, she deliberately allows her works to distort and crack in the kiln, inviting the viewer to question the relationship between strength and vulnerability.
- Nathalie Du Pasquier @ Camden Arts Centre
29 September – 7 January
Challenging modes of representation, Milan-based artist Nathalie Du Pasquier traverses boundaries between art and design. Du Pasquier became known in the early 1980s as a founding member of the Italian design collective Memphis. Since 1987 she has focused on painting, creating bold, abstract and still life compositions which play with architectural planes and perspective. In Other Rooms, Du Pasquier expands beyond the canvas to inhabit the entirety of the gallery spaces as a field of composition. Modular designs and geometric shapes cover the walls, transforming the galleries into an immersive environment of constructed landscapes. As with her early design work, these vividly-coloured compositions examine the expressive relationship between two- and three-dimensional forms, space and representation to navigate ways of viewing the world.
- Jane Austen @ Royal Pavilion, Brighton
17 June – 8 January
Jane Austen was one of the most successful writers of the early 1800s, and her novels are still enormously popular today. To mark the bicentenary of her death, a new display at the Royal Pavilion will explore Austen’s relationship with Brighton and other coastal towns. Brighton ‘walking dress’ of 1818, courtesy of University of Sussex Jane Austen by the Sea will look at the seaside context of Austen’s plots and paint a picture of the leading resort of Brighton in the early nineteenth century, when it was a fashionable ‘watering place’ featured in novels like Pride and Prejudice.
- Barbara Hepworth @ The Hepworth
13 May – 8 January
This Barbara Hepworth exhibition features over 30 works from our collection, tracing the artist's whole career. Examining Hepworth's early life in Wakefield, her training and the early carvings of the 1920 - 30s, right through to the iconic stringed forms emerging during the 1940s and her later, large-scale marble sculptures. The exhibiton also features important examples of the full range of material types that she used – cast bronze, stone and wood carvings, paintings, prints and even a screen-printed scarf.
- Tracy Emin @ Turner Contemporary
13 October – 14 January
Tracey Emin’s iconic and controversial installation My Bed will be on display alongside a collection of JMW Turner's seascapes and stormy skies, loaned from Tate’s collection and chosen by the artist. My Bed famously features Emin’s own bed and gives a snapshot of her life after a traumatic relationship breakdown. It offers ‘an unconventional and uncompromising self-portrait through objects’, in which the artist herself is absent. Originally made in Emin’s Waterloo council flat in 1998 and included in her Turner Prize exhibition in 1999, the bed is on long term loan to Tate following its purchase by a private collector in 2014.
- Rachel Kneebone @ V & A
1 April – 14 January
Rachel Kneebone's sculpture '399 Days' – originally shown at White Cube in 2014 – is a towering colossus made of porcelain tiles and writhing limbs, and is going to look qute spectacular amongst the objects of Gallery 50a at the V&A. Three other sculptures will also be presented in the Hintze Sculpture Galleries in Gallery 21. Kneebone's work is an ongoing exploration of the human condition. Her complex tableaux of organic, architectural and geometric forms use the language of classicism laced with surrealism. They are sublime echoes of life's cycle from emergence and ecstasy to mourning and loss.
- Louise Dahl-Wolfe @ Fashion & Textile Museum
20 October – 21 January
Louise Dahl-Wolfe (1895–1989) is one of the most important women fashion photographers of the first part of the 20th century. This is the first major retrospective of her work in the UK, and a key focus of the exhibition, A Style of her own is Dahl-Wolfe’s 22 years as leading contributor to Harper’s Bazaar. Considered a pioneer of modern fashion photography, the exhibition highlights how Dahl-Wolfe defined the image of the modern independent post-war woman.
- Paula Rego @ Pallant House Gallery
30 September – 28 January
A rare opportunity to see Dame Paula Rego's preparatory drawings for her paintings, providing an insight into her remarkable draughtsmanship and the development of her ideas. The exhibition, The Sketchbooks draws largely from sketchbooks from the 1980s and 90s, including studies for some of her most famous works and provides a new understanding of the work of one of Britain and Portugal’s most loved figurative artists.
- Sooni Taraporevala @ The Whitworth, Manchester
4 March – 28 January
Photographer, screenwriter, filmmaker Sooni Taraporevala presents a series of black and white photographs depicting life in Bombay/Mumbai from 1976 to the present day. Capturing the city in which she grew up, Taraporevala’s images, cutting across class and community lines, are an insider’s affectionate view. The images, complex and intimate, quirky and quotidian, celebrate the odd and the everyday and are a significant contribution to the social history of one of India’s most diverse cities. Exploring a metropolis as its shape shifted over four decades, these works are personal documents of the city’s eccentrics, its children, its elderly, its landscape: a gentle mirror to culture and politics, with the secret sideways glance of a flaneur.
- Emilia Kabakov @ Tate Modern
18 October – 28 January
Ilya and Emilia Kabakov are amongst the most celebrated artists of their generation, widely known for their large-scale installations and use of fictional personas. Critiquing the conventions of art history and drawing upon the visual culture of the former Soviet Union – from dreary communal apartments to propaganda art and its highly optimistic depictions of Soviet life – their work addresses universal ideas of utopia and fantasy; hope and fear. The exhibition, Not Everyone will be taken into the Future charts the Kabakovs’ incredible artistic journey, from the early paintings, drawings, albums and sculptural works made by Ilya working as an ‘unofficial’ artist in his Moscow studio from the 1960s, through to his move to New York in the late 1980s – a turning point which marked the beginning of his collaboration with Emilia on immersive and often large-scale installations. Including architectural models of realised and unrealised utopian projects and public sculptures, the exhibition demonstrates the breadth of the Kabakovs’ practice.
- Alina Szapocznikow @ The Hepworth Wakefield
21 October – 28 January
This is the first major UK retrospective of Polish artist Alina Szapocznikow (1926-1973), one of the most important, yet for many years, overlooked artists of the 20th century. The exhibition, Human Landscapes will bring together works spanning Szapocznikow’s career, including a selection of her drawings, which have rarely been publicly displayed. Szapocznikow’s career was cut short by her premature death in 1973 at the age 47 but her work has been reappraised internationally in the last decade. The exhibition will trace a chronological path through Szapocznikow’s work, highlighting how the artist’s work developed from classically figurative sculptures to her later “awkward objects” which are politically charged and overlaid with Surrealist and Pop Art influences.
- May Morris @ William Morris Gallery, Walthamstow
7 October – 28 January
This landmark exhibition explores the life and work of May Morris, the younger daughter of William Morris and one of the most significant artists of the British Arts and Crafts movement. May Morris: Art & Life is the most comprehensive survey of May’s work to date, bringing together over 80 works from collections around the UK, many of which have never been on public display.
- Tove Jansson @ Dulwich Picture Gallery
25 October – 28 January
One of the most celebrated illustrators of the 20th century, Tove Jansson ( 1914-2001) is known internationally as creator of the Moomin characters and books, a phenomenon which continues to stretch across generations. Her wider outputs of graphic illustration and painting, however, are relatively unseen outside her home country of Finland. 150 works, including a selection of self-portraits and paintings never seen before in the UK reintroduces Jansson as an artist of exceptional breadth and talent, and provide an insightful overview of the key stages of her prolific career. Ultimately, Jansson’s most enduring desire was to be an artist and this exhibition will reveal the unwavering passion that kept her working and exhibiting as an accomplished fine artist alongside her career in graphic illustration.
- Pioneers to Professionals @ National Museum of Royal Navy, Portsmouth
8 March – 31 January
‘Pioneers to Professionals: Women and the Royal Navy’ exhibition reveals the impact of women’s involvement from the 17th century onwards, during both world wars, the Cold War to integration and beyond, to today’s serving personnel.
- Polly Apfelbaum @ Frith Street Gallery
24 November – 2 February
Following her recent exhibition on prints at NMWA, Washington, DC - Chromatic Scale | National Museum of Women in the Arts, Polly Apfelbaum is in London to exhibit her latest works in a series of installations that incorporate hand-woven carpets, ceramics, drawings, and immersive colour. Each one is structured around thematic references: art-historical, place, or popular culture. These installations work simultaneously with architecture, colour, and form; they encourage the viewer to actively engage with the work in space For this installation, Apfelbaum worked with weavers in Oaxaca, Mexico, where the Zapotec people have been weaving textiles for over 2,000 years. Entitled Dubuffet’s Feet My Hands, these floor works are based on a small drawing titled Footprints in the Sand by Jean Dubuffet from his 1948 sketchbook El Golea II.
- Ethel Gabain @ Fine Art Society
27 November – 3 February
This is a new exhibition of Ethel Gabain's distinctive lithographs, which follows on from a hugely succesfull show earlier this year, that introduced her work and life to a new audience and re-established her reputation as one of the most important artist-printmakers of her generation. This exhibition will bring together lithographs of women, her subject of choice, exploring the feminine in all its ambiguities, as well as some of her landscapes, early etchings and works inspired by her love for the theatre and ballet.
- Mehreen Murtaza @ Manchester Art Gallery
30 September – 4 February
Mehreen Murtaza will fill Manchester Art Gallery’s ground floor gallery with living plants for a new work exploring plant communication and consciousness. Through in-depth research, Murtaza has developed a unique narrative and sound installation which will blur the boundaries between plant neurobiology, science fiction, philosophy and spirituality to create a space that is neither fiction nor non-fiction.
- Rose Wylie @ Serpentine Sackler Gallery
30 November – 4 February
Rose Wylie’s images are often painted through the filter of her memory, using text to anchor recollections and facts and editing slippages in the compositions by overlaying new pieces of canvas, like a collage. Imbued with wit and economy of line Wylie’s canvases are confident and energetic, proposing new perspectives on the world and the plethora of images in our cultural memory.
- Women's Hour Craft Prize @ V & A
7 September – 5 February
This inaugural Woman’s Hour Craft prize offers a snapshot of where contemporary craft is at, with a roster of leading artist-crafters pushing old techniques in new directions. The tension between natural materials and the manmade world is a big focus. Organised by the BBC and the Crafts Council, the Prize was launched to celebrate the 70th anniversary of BBC Radio 4's Woman's Hour, with 12 finalists, which includes work by Ellen Bacon, Laura Youngson Coll, Caren Hartley and others.
- Hannah Ryggen @ Modern Art Oxford
11 November – 18 February
Hannah Ryggen (1894-1970) was one of Scandinavia’s most outstanding artistic figures of the 20th century. In the first major presentation of the artist’s work in the UK, this exhibition surveys her career from an early painted portrait created in 1914, to the intricate tapestries that characterised her extraordinary career from the 1920s onward. Her work demonstrates her impassioned responses to the socio-political events of her time. Ryggen's intense relationship to the world around her forms the heart of this exhibition, which celebrates both her vibrant tapestries and the processes involved in creating them.
- Helen Allingham @ Watts Gallery
21 November – 18 February
Helen Allingham is one of the most familiar and well-loved of Victorian artists – in 1890 she became the first woman to be admitted to full membership of the Royal Watercolour Society and her work was highly acclaimed by leading contemporary critics, including John Ruskin. Despite this success there have been few exhibitions dedicated to her work. This exhibition seeks to reassert the reputation of Helen Allingham as a leading woman artist and as a key figure in Victorian art. We will bring together rarely seen works from private collections together with important paintings from public collections, to demonstrate Allingham's extraordinary talent as a watercolourist and as one of the most successful creative women of the nineteenth century.
- Neha Choksi @ Manchester Art Gallery
30 September – 25 February
Neha Choksi sets up simple yet memorable situations to create poetic, absurd and psychologically engaging works. Her new multi-channel film installation features the artist and her friends. Exploring the relationship between herself and her community, she tests her belief that to learn to be oneself, one always needs others. The film has been shot on the construction site for an expansive and modernizing Jain ashram in India. Inventing open ended and playful situations for her participants, Choksi examines the connections and tensions between solitude and collaboration.
- Susan Philipsz @ BALTIC, Gateshead
20 October – 4 March
For this exhibition Susan Philipsz is staging the presentation of her new work, A Single Voice 2017. It is an adaptation of Karl-Birger Blomdahl's opera Aniara 1959. The narrative follows a group of colonists who leave a doomed planet Earth behind to set up a new life on Mars. An accident occurs during their journey and the passengers of the craft are left to float eternally in space. In Philipsz' installation, a large film projection combined with the sculptural arrangement of 12 speakers act as an intimate meditation on themes of distances, separation and isolation. The exhibition also includes Ziggy Stardust 2001, a haunting a cappella rendition of David Bowie’s extraordinary 1972 studio album.
- Gluck & Brighton Museum
18 November – 11 March
This major new exhibition, Art & Identity explores the life and work of the 20th century artist Gluck (1895-1978), who is now also recognised as a trailblazer of gender fluidity. Born Hannah Gluckstein into a wealthy Jewish family, Gluck attended art school in London and ran away to Cornwall with fellow students during the First World War. The artist mixed with the Newlyn School of painters, and adopted the name Gluck, creating a controversial masculine identity incorporating men’s tailoring, barber-cut short hair and a mannish demeanour. Gluck, who demanded “no prefix, suffix, or quotes”, became well known as a painter. Portraits, land and seascapes and floral paintings are all included in this show. Taking the experimental approach of a forensic investigation, the exhibition will also present other surviving evidence of Gluck’s life – including clothing, accessories, photographs, press cuttings and personal ephemera.
- Lubaina Himid @ Walker Art Gallery
7 October – 18 March
The pieces selected by Lubaina Himid are all by women artists, and occupies one room within the gallery. At the centre of this display is her 1987 series of watercolour drawings, ‘Scenes from the life of Toussaint L’Overture’, about the former slave who led the Haitian revolution. The meticulous detail within this series, and its focus upon some key moments and everyday happenings in L'Ouverture’s life, has inspired Lubaina’s selection of other works by artists including Bridget Riley and Claudette Johnson. The full installation Naming the Money was gifted by the artist to the International Slavery Museum. It addresses how Europe’s wealthy classes spent their money and flaunted their power in the 18th and 19th centuries, by using enslaved African men and women. The highly individual sculptural figures, each with their own profession and life-story, demonstrate how enslavement was disguised and glamorised.
- Anna Dumitriu @ The Museum of the History of Science, Oxford
28 September – 18 March
Explore your relationship with the microbial world, antibiotics and technology through art. This exhibition by internationally renowned artist Anna Dumitriu takes visitors on an artistic journey through infection, from the Romantic period to contemporary synthetic biology.
- Mary Reid Kelley @ Tate Liverpool
17 November – 18 March
Known for their stylised black-and-white videos this exhibition, We are Ghosts will be Mary Reid Kelley and Patrick Kelley’s first solo exhibition in the UK. The display will feature their new work In The Body of The Sturgeon, as well as the 2016 work, This Is Offal alongside life-size lightbox portraits of the videos’ characters. Mary Reid Kelley and Patrick Kelley work in collaboration to create video works that combine painting, performance and poetry to tell surreal stories inspired by history and mythology. Played by the artists acting multiple roles, their characters speak in poetic verse filled with wordplay and puns to tell stories that imagine unrecorded histories. The new commission In The Body of The Sturgeon envisions a peculiar time and space: an American submarine at the very end of the Second World War. Sailors on the (fictional) USS Sturgeon grapple with claustrophobic boredom and entertain each other with ad-hoc burlesque performances.