Born in Wakefield, Yorkshire in 1903 and working until her death in 1975 in St Ives, Cornwall, Barbara Hepworth lived through a time of astonishing technological and social change. She had a broad range of interests, from politics to music, poetry, science and spirituality-and a life-long engagement with landscape-which she brought into her work, alongside influences from her personal life.
A woman clutches a large red and white striped box of popcorn as she stares intensely at the cinema screen. Nearby a couple of men gaze in the same direction; one has his head slumped on the other's shoulder. Close behind, an older man with folded arms glares at them disapprovingly. This is Elmgreen & Dragset's installation, The Audience at Prada Mode, and the bodies are inanimate sculptures. They are rendered with such realism that
Hours after Princess Diana gave birth, she walked out onto the steps of the Lindo Wing, the private maternity ward of St. Mary's Hospital in London, where she was met with photographers from around the world. As she introduced Prince William, then a couple years later, Prince Harry, she looked radiant, with flawless makeup and flowing gowns. It was a portrait of maternal serenity.
If you're considering bathroom renovations, I would perhaps advise against hiring Lisa Herfeldt to do the work. Yes, it's true, she's something of a whiz with a silicone gun creating compelling sculptures from this unlikely art material. But the more you look at her creations the more you realise that something is a little off. The thick lengths of sealant she produces stretch beyond the shelves on which they sit, sagging off the edges towards the floor. The knotty foam pipes bulge until they split.
Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture-including football equipment, peacock chairs, lowriders and butterflies-Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their interpreted meaning. The exhibition's title comes from Gil Scott-Heron's spoken word poem Comment #1 (1970), which earnestly describes the violence of racial and social inequality in America during that time.
At its core, NO PARKING is about presence through absence. While no human figures are depicted, the works are rich with the suggestion of workers, commuters, and residents whose lives intersect in the city's dense, chaotic streets. Each vehicle becomes a portrait - not of a person's face, but of their story, their routine, and their resilience. Burned vans and scorched sports cars hint at destruction and renewal, while RVs and idle food trucks evoke themes of mobility, survival, and urban transience.
We feel frustrated and helpless - but as an artist, I feel I have a responsibility to move people to act with generosity. I'm hoping the sculpture I created will move people even a little bit and might, in this case, encourage them to make a contribution towards saving Gaza from further starvation and desolation.
Undulating in a Utah Museum of Fine Arts gallery, thousands of glimmering casts seem to float throughout the space. For his large-scale installation "Stone on Boundary," Japanese artist Yasuaki Onishi has suspended 5,000 copper foils that he molded over river rocks in both Osaka and Salt Lake City. Begun in the artist's studio in Osaka-a city where Japanese copper has been refined for export for around two centuries-the installation then traveled to the museum, which sits less than an hour's drive from the world's largest operational open-pit copper mine.
Through millennia of artistic expression and within the natural world, the ubiquitous spiral continues to mesmerize. In ancient traditions, the form often represents cycles. The triskele, for example, consists of three interlocking spirals thought to symbolize death, life, and rebirth or the triad of mind, body, and spirit. Spirals also emerge naturally in seashells and plants, sometimes linked to the concept of the golden mean, also known as the " divine ratio."
In a remote monastery perched perilously on top of a crag in Piedmont, Italy, an old man lies dying. Thirty-two monks stand vigil at the deathbed; Mimo Vitaliani has lived among them for 40 years, yet few of them know exactly why. Nor did Vitaliani come alone, but with a mysterious statue that is kept under lock and key in the depths of the Sacra di San Michele,
Mönch (Monk) is a solid polyester figure, life-sized and jarringly lifelike in its details, depicting a somewhat gaunt man dressed in roughly Franciscan habit: a floor-length cowled robe, a rope cintura with three knots around his midsection. He hunches ever so slightly forward but otherwise is just standing, with his arms loose at his sides. His eyes are closed. From head to toe he is a perfect matte black; he drinks the light and returns virtually none of it.
"A major work by the artist Barbara Hepworth, Sculpture with Colour (Oval Form) Pale Blue and Red (1943), will stay in the UK after a public appeal raised £3.8m to save the piece, including 2,800 donations from members of the public."
The trail features stories that highlight the reasons why ocean conservation is needed. Meaden said: "We see wildlife on land, and it triggers emotion: it is visible, tangible, and easy to connect with. The ocean is too often out of mind, and yet it is the beating heart of our planet - the force that sustains all life forms. If the ocean dies, so does the planet. It's that simple, and that urgent."
KAWS' outdoor exhibition will spotlight large-scale works across the NYBG estate, creating an interactive open-air museum experience in a naturally curated landscape.
Madeleine LeBrun creates art by combining bas-relief sculpture and digital photocollage, starting from sketches that transform into colorful, textured works with a 3D appearance.
The exhibition brings together two large-scale film works, More Sweetly Play the Dance (2015) and Oh To Believe In Another World (2022), playing sequentially across a seven-screen installation.
