Exhibitions Newsfeed

The great photographer documented black family life in postwar Alabama – and the dignity and resilience people showed under discriminatory Jim Crow laws

BFI and National Portrait Gallery to mark centenary of the film star’s birth with ‘the summer of Marilyn’

Though often reduced to a sex symbol frozen in time, or a tragic figure at the centre of several scandals, Marilyn Monroe was something far more subversive, according to two exhibitions that will herald what has been nicknamed “the summer of Marilyn”.

To mark the centenary of her birth, Monroe is being celebrated by leading British cultural institutions as a performer of sharp comic intelligence, a canny architect of her own image, and a woman who reshaped the possibilities for female stardom on screen.

This new NGV exhibition examines historical images of maternity alongside works by real artists made during the throes of motherhood

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When asked about her art-making practice later in life, after her children had grown up and left home, the German artist Käthe Kollwitz replied: “I work like a cow grazes.”

She didn’t mean she was relaxed, content and experiencing a newfound creative liberty; she meant that her work was suffering from the absence of child-rearing demands. Time now stretched out and her art-making, similarly uncontained, had lost its urgency.

Scottish designers are showcased alongside a backstage set and props including a Chanel-branded megaphone

In 1971, Manolo Blahnik created shoes for the designer Ossie Clark’s catwalk show in London. Relatively new to shoemaking, the Spanish designer forgot to put steel pins in the heels of the shoes, which meant that models wobbled, unbalanced, down the catwalk. Blahnik thought it was the end of his career. But the press thought it was a deliberate style; the photographer Sir Cecil Beaton even christened it “a new way of walking”.

The sandal in question, a green suede heel with ivy leaf embellishments, is just one treasure currently on display at the V&A Dundee’s new exhibition, Catwalk: The Art of the Fashion Show, which helps bring to life more than 100 years of history, charting its journey from the discreet salons of 19th-century London and Paris all the way up to the extravaganza it is today.

Sadie Coles HQ, London
From holiday snaps to atrocities, Throbbing Gristle album covers to backsides in shorts, the Polish painter reproduces the scattered attention and flattened perspective of our social media age

Wilhelm Sasnal has transformed the ground floor of Sadie Coles’ elegant gallery into a parade of broken images: the Oval Office, a ghastly forest, a blasted tree trunk, the artist’s wife and daughter, a British post-punk band, and the sitting US president surrounded by cronies, his face resembling the burn produced by screwing a lit cigarette into a photograph.

These paintings, most of which are untitled, are broken in the sense that an online link can be broken: it is difficult to connect them to their source. (It would be useful to know the location of that tree, for instance.) They are also broken in that they do not fit together as a whole. What connects that revolting White House interior, with its acid greens and faecal browns, with a spooky forest? What links President Trump to the founders of industrial music?

Poland’s leading figurative artist de-faces Trump, feminist art rebels squat in East Sussex, and the UK’s street art is captured – all in your weekly dispatch

Wilhelm Sasnal: family/history
The domestic meets the political in these unsettling new paintings of family life and global current affairs (including some greyed-out visions of the Oval Office) by Poland’s leading figurative artist.
• Sadie Coles HQ, London, until 23 May

As the daughter of refugees, Iranian American artist Sheida Soleimani’s work reframes caring for bodies – both human and animal - as a political act. Her new exhibition, Forest of Stars, will be on view at Yancey Richardson Gallery from 16 April to 22 May

A new book celebrating four decades of fashion photography duo Inez and Vinoodh features celebrity portraits, surrealist visions and a meditation on love itself

The pioneering Nordic artist brought wit, verve and cinematic flair to postwar photography. A new exhibition celebrates her vibrant visual style

He has faced off a fighter jet, ridden a motorised bed and even been a Beano character. As he steps down, the mighty Guardian critic delivers his insights, confesses his crimes and relives his highs

After writing about art at the Guardian for 30 years, I have been asked by my editor to reflect on what I have learned. I am not sure I’m capable of doing that. What I can do is write about what I have seen. Even when you are an eyewitness, things get murky very quickly, and critics are among the most unreliable of narrators.

An unknown woman at a table writes a letter we can’t see, while her maid reacts to something beyond the painted window. We can’t see what she’s smiling at either. How is it that Vermeer’s 1670-71 Woman Writing a Letter, With Her Maid, makes me feel somehow privy to its intimacies when almost everything that matters is withheld? You have to make it up. The stories come barging in, something you can’t quite imagine happening in such an ordered world.

The images are famous, but the women who took them are often forgotten. An inspiring exhibition focuses on the pioneering ‘new vision’ of Marianne Brandt, Lucia Moholy and more

Sylvia Grant-Dalton disliked house so never modernised it – putting her energy into gardening, floral displays and art

Sylvia Grant-Dalton was the custodian of a grand Victorian house that she never liked and never modernised, failing to replace peeling wallpaper, fraying carpets or broken shutters.

Nor was she able to sort out rampant rising damp or multiple pest infestations. For all of that, English Heritage is profoundly grateful.

Cecily Brown blooms into life, Ashanti folklore is remade and three Indigenous Australians spill their ancient knowledge

Cecily Brown: Picture Making
New nature-tastic works of kaleidoscopic, richly textured, painterly experimentation by the YBA who never felt cool enough to really be a YBA. Springing to life just as the blossoms around the Serpentine really start to bloom.
• Serpentine Gallery, London, until 6 September

Piece by late South African artist Dumile Feni is part of new series History Doesn’t Repeat Itself, But It Does Rhyme

On the second floor of the Reina Sofía, in the very spot where Picasso’s Guernica was first exhibited when it arrived in the Madrid museum 34 years ago, there now hangs a smaller, near-namesake of the Spanish artist’s most famous work.

While African Guernica, which was drawn by the late South African artist Dumile Feni in 1967, may lack the scale of Picasso’s masterpiece, its depth, anger and unnerving juxtaposition of man and beast, light and dark, and innocence and cruelty, are every bit as disturbing.

Show draws almost entirely from collection of Lancashire schoolteacher Peter Smithson, a fan since he was 10

Peter Smithson’s wife, Belise, has never minded when he receives a corset from Japan or a pair of fur-trimmed knickers and they are not for her.

“No, she’s never seen it as strange,” said Smithson, a chemistry teacher and Vivienne Westwood supercollector. “She has never judged it. She gets it. She knows it is part and parcel of who I am.”

Royal Academy, London
Wautier’s mighty paintings have been misattributed to her male peers for 300 years, but now UK audiences can enjoy their first encounter with a 17th-century trailblazer

Art history is currently in the process of revising the accepted white male canon by uncovering overlooked female artists. We have had the recent explosion in interest of the extraordinary work of Artemisia Gentileschi, of whom major exhibitions such as the National Gallery’s have been at pains to extricate from the violent sexual assault that tends to overshadow her biography. By contrast, we have scant documentary evidence of her direct contemporary Michaelina Wautier (about 1614–1689) other than that she was born in Mons in the Spanish Netherlands (present day Belgium) and lived with her artist brother Charles in Brussels near the royal court.

Both share the commonality of being so technically accomplished – while operating in a patriarchal society that prevented women easily enjoying successful artistic careers – that their work has since automatically been misattributed to their male counterparts and thus obfuscated in art history for 300 years; for Artemisia her father Orazio, and Michaelina her brother Charles or other contemporary baroque painters. Wautier is also elusive in straddling several genres, all executed with consistent quality: portraits, history or religious painting, and decorative floral work – the latter more commonly associated with female artists – further preventing identification.

The Last Princesses of Punjab opens on Thursday at Kensington Palace

The extraordinary life of an exiled Punjabi princess, embraced by the British royal court and a goddaughter of Queen Victoria, but who would become a pioneering suffragette and challenge the very authority of the elite social circles in which she moved, is to be told in a new exhibition.

Princess Sophia Duleep Singh was the daughter of Duleep Singh, the last Sikh maharajah of the Punjab. As a child he was forced to surrender his lands to the East India Company in 1849, and sign away the famous Koh-i-noor diamond, now a potent symbol of colonial exploitation and set in the crown of the late Queen Elizabeth the Queen Mother.

Objects that were believed to have some form of magic effect are part of an exhibition exploring how ancient cultures tried to change the world around them

Whether it’s an ancient amulet to protect a newborn baby, a love spell to lock down a romantic relationship, a potion that someone might pick up today from their neighborhood apothecary, or even a spray of Chanel perfume to make yourself irresistIble, humans have used – and continue to use – magic to get what they want. These spells and their use in the ancient world are the focus of Cursed! an entrancing exhibition at the Toledo Museum of Art that offers a deep dive into the use of magic in ancient cultures in Mesopotamia, Egypt, Greece and Rome.

“Magic is in all societies, it’s a very basic human desire, to want to have some control over your world,” said show curator Dr Jeffrey Spier, a former senior curator with the J Paul Getty Museum. “There’s always been a desire to use some hidden power to get what you need.”

Grand Palais, Paris
An epic collection of the artist’s final 13 years of work explodes with the stunning colours and spiky cutouts that redefined art

Forget the joy and energy of youth – your best days might yet be ahead. Henri Matisse’s were, even when he barely made it out of surgery alive in his early 70s as war was breaking out across France. Sitting in his wheelchair, his hand wobblier and weaker than ever, his body scarcely able to muster the strength to stand and paint, he reinvented himself and reshaped modern art in the process.

Centre Pompidou and the Grand Palais’ huge exploration of the last years of Matisse’s life – from his surgery in 1941 to his death in 1954 – is a dizzying, joyous celebration of colour, form, line, light and then a whole bunch more colour. It’s so good, so beautiful, so totally overwhelming. It was always bound to be – it’s Matisse, with all the resources of France’s vast collection of Matisse works. It’s a show full of hits.

Konrad Mägi is given his time to shine, Fiona Banner hits a word-picture high and Carrington takes over the home of Sigmund Freud – all in your weekly dispatch

Konrad Mägi
You mean you haven’t heard of “Estonia’s greatest modernist painter”? Who knows, this exhibition may put his name in lights.
• Dulwich Picture Gallery, London, from 24 March to 12 July