Hettie Judah is a writer based in London, UK.
Criticisms of impact are missing the project’s power to change behaviour, argues collaborator and geologist Minik Rosing
Two London exhibitions by belit sağ address police and military violence committed against Kurdish people in Turkey
An exhibition at MoMu, Antwerp, spotlights the largely female ‘Textielgroep’ from the 1970s hanging their work alongside contemporary practitioners
An exhibition at M HKA, Antwerp, explores the artist as brand and as charismatic cult leader
At the Photographers’ Gallery in London, a show examining the increasingly ubiquitous images produced by machines
The second edition – Michael Dean, Mona Hatoum, Phillip Lai, Magali Reus and Cerith Wyn Evans – pits old guard against young guns
Beyond the ‘forcefield of righteousness’ that occludes some political work, ‘Artes Mundi 8’ manages a complicated and rewarding show
On view at Skarstedt’s London gallery, US artist Sue Williams’s latest body of work reflects a battle against ‘hating everything’
Ahead of ‘Anni Albers’, which opens at Tate Modern next week, Hettie Judah visits the legendary German educational institution
The forthcoming exhibition ‘Modern Couples’ frames the shared lives of modernism’s artistic pairings – from Claudel and Rodin, to Maar and Picasso
Our guide to the shows not to miss, from Tania Bruguera’s Turbine Hall commission to Amy Sillman’s canvases at Camden Arts Centre
With 12 hours of talks (and only one 20-minute break) on a Saturday, the Serpentine Marathon illustrates how the art world plays by its own rules
Opening with a show about humour in art, there is a refreshing domesticity to SLG’s expansion
If the new V&A is Dundee’s public face to the world, it underscores the motto of the city’s famous resident: ‘think global act local’
After 34 years as Head of Hayward Gallery Touring, the ‘organizer’ looks back on a career spent championing art exhibitions outside of London
‘Spellbound’ at the Ashmolean Museum, Oxford, traces magic and ritual from the Middle Ages to today
At Herald St, London, the artist presents paintings filled with smooth ovoid forms and the suggestion of a single, otherworldly light source
Recent paintings by Caragh Thuring, Phoebe Unwin and Clare Woods mine the tension between physical and imagined worlds
Commemorating the 100th anniversary of WWI, The Head & The Load at Tate Modern makes incomprehension the work’s guiding theme
Is the lack of social mobility in the arts due to a self-congratulatory conviction that the sector represents the solution rather than the problem?
