The title given to Flora Alexandra Ogilvy and India Whalley’s co-curated exhibition at The Dot Project would suggest for a downcast room full of wintery landscapes populated by pining figures. In reality, the gallery in Fulham has become home to a series of abstract paintings made by artists that the duo found on social media.

White Cube has asserted itself as a cultural nexus in St James’, London, for the time being, with blue chip rigour. The freestanding stronghold of the Mason’s Yard site declares its autonomy and 'From the Vapor of Gasoline' chimes into a chorus of liberal declarations whilst showcasing the best it has to offer; these are market darlings with museum-grade nous.

Like the geographic and cultural threads that influence the west coast artists featured in this exhibition, LA Invitational is expansive in its curatorial endeavor. It consists of either new work, or work newly exhibited to New York. Taking place over six gallery spaces at Gagosian’s West 24th Chelsea location – New York’s blue-chip gallery district ­– the exhibition consists of painting, film, sculpture and conceptual work from 14 artists hailing from the American art hub of Los Angeles.

The past couple years have seen more retrospectives of the great female artists of the 21st century. Marilyn Minter, Judy Chicago and the feminist photographers of the 1970s have had celebrated exhibitions in major museums around the world. Katy Hessel, founder of the online gallery @thegreatwomenartists, accelerated the momentum in central London last week when she exhibited the works of 15 female artists for the first time off screen in the lobby of advertising agency Mother.

In the midst of a world pulling itself apart at the seams and erecting more barriers than taking down, Frieze – one of the bastions of a globalised and multiverse ecology – has pitched its tent in London’s garden for the 15th edition of its Regent’s Park-based art fair. As every self-respecting gallery and institution across the city puts its finest wares on display, London has never looked more culturally spritely.

The work of Brazilian-born Lydia Okumura straddles both Minimalism and Conceptualism. Her work seeks to “make art in a spontaneous way, using the minimum necessary in order to express an idea. . . I want to express the immateriality in everything.” Her work follows in the footsteps of Concretism and Neo-Concretism.

For the 2017 edition of Art Licks weekend, Platform Southwark was taken over by sculptor Emily Motto, carpenter Ed Haslam, and audio/lighting design duo Flow Conceptions to create a multimedia interactive installation titled Nexus Space. The show is a continuation of their sculpted, habitable pods that lit up the woodland at Brainchild Festival earlier this summer.

George Rouy’s most recent body of work, on view at J Hammond Projects under the title In Dirty Water, takes the most Grecian approach to the fleshy vessels of our being. Sexless, transient and limp, Rouy’s subjects do not speak to sex in spite of their orgiastic appearance, but isolate the gaseous consciousness caught in the roundness of the human body.

Stepping into Delirious requires the abandonment of recent, conventional thinking about Post-War art and its presentation. As museum-goers, we have become inured to: solo exhibitions presented in rather lockstep, often chronological, fashion documenting an artist’s career or a movement

Skinscapes, curated by Tatiana de Cheneviere and Giulia Vandelli is a group exhibition that, as the title suggests, presents nine artists wildly contrasting, deeply personal interpretations of the Skin. I feel the time has come to wake up to the true beauty of our skin that lies in its resilience, its sheer strength and ability to withhold all the pain and pleasure that life entails.

Marie’s most recent exhibition ‘Morning Defeats’ is currently on show at the Hannah Barry Gallery, which has represented her since her first solo show back in November 2014. The exhibition presents thirty drawings in pastel on Japanese paper and also a large scale work on fabric, which includes drawings that have been applied onto the fabric with textile pens, crayons and dyes.

With one of the most dynamic surf spots in the world across the street, the Depart Foundation’s Sea Sick in Paradise evokes both the sport and the social life that informs it, with a diverse series of mediums and eras represented. While the works span many mediums and eras, what they all do is evoke the town square atmosphere of the beach, the human aspect that descends upon nature day after day. 

Feminism(s) x The Arab and Muslim Diaspora was the first in a series of exhibitions curated by Goldsmiths graduates Loren Elhili and Susanna Pousette. In part a reaction to Trump’s Muslim ban in the US, the debut show brought together female artists across a range of media to both destroy and challenge static stereotypes of Arab and Islamic women.

Running at the House of Vans for ten days in August, ‘all in: the mind’ is a mindful group show, characterised by works which are delicate explorations of the diverse personal manifestations of mental health. An intimate exhibition, a huge variety of works are on display in this carefully curated space.  Modern and stylish in feel, the location under Waterloo’s railway arches emphasises the alternative nature of the show

The gallery, which has this June celebrated one year since its opening, feels a staple of its surroundings and the latest show Colour, Order, System has as much dialogue with the street outside as it does between the works inside. Bringing together four artists, owner and director Sid Motion – the gallery’s namesake – has curated a show of delicate proportions and affiliations, and the title provides a rigorous underpinning of all the works on view.

Co-curated by Tate Director, Dr Maria Balshaw, Diana Campbell Betancourt, Director of Dhaka Art Summit and the artist, Shaw’s solo exhibition is part of the New North and South Network. The three-year programme consists of co-commissions, exhibitions and intellectual exchange across a network of eleven arts organisations from the North of England and South Asia and aims to bring prominence to the work of leading Bangladeshi, Indian, Pakistani, Sri Lankan and UK artists.

So wrote Germano Celant in 1967 in his post-exhibition manifesto, Arte Povera: Notes for a Guerilla War.  Celant, now the Artistic Director of the Fondazione Prada in (Milan), linked the Italian neo-avant-gardes conceptually, rather than with or to any formal or stylistic bases.  Celant saw the artists common desire to destroy "the dichotomy between art and life" with process-oriented practices.

We've all visited the leading art spaces in Paris, London and New York for our fix of contemporary art; yet not many have travelled as far as Moscow. But now, with the forward-thinking Garage, our attention is turning to see what the Russian capital has to offer. With five exhibitions, a renowned magazine, cutting-edge book shop, and open-air cinema, Garage has evolved into a creative hub like no other. 

Writing in a present day 30° degrees London, lulled by the tropical chirping of now-local green parakeets, surrounded by issues of the National Geographic heralding the melting of the Antarctica ice caps, it is not hard to understand how the imagery evoked by Ballard captured the imagination of the Goss Brothers who recently launched a fashion line for Folk Clothing inspired by this prescient book.

Long before #instafood, #foodporn or #foodart became Instagrammable sensations, American artist Wayne Thiebaud had made a profitable and lengthy career out of it. Melting ice-creams in wafer cones, perfectly poised cherries on cinnamon buns and swirling dollops of sugar icing were the rising stars of his early compositions. You could say that Thiebaud paved the way for a modern obsession with beautiful food. 

Where is Further Away? How far can our imagination carry us? To Cuba, to a place of little sense, to the boundary between life and death? The ten artists featured in this exhibition at Copeland Gallery do precisely that: they transport the viewer somewhere they have not ventured yet. Curated by India Dickinson, the journey begins with Ivo Morrison’s indigo fantasies, where oneiric worlds are shrouded in mystery and nostalgia.

Founded in early 2015 by Patrick Barstow, PM/AM is a gallery space, which aims to challenge the existing models that we use to interact with art. By introducing 3D glasses and ocular manipulation, Ry Bradley’s exhibition: 21th Century does just that. Juxtaposing the white and grey setting are Bradley’s kaleidoscopic pieces. French impressionism immediately springs to mind, as the paintings are reminiscent of Monet’s Water Lilies.

Stepping into the polished concrete, white walled interior of the Chelsea’s Cassina Projects, one wouldn’t expect these to be the words echoing in their mind upon entering the gallery space. And yet, Junichiro Tanizaki’s musings on Japanese aesthetics feel particularly apt to describe the works featured in this exhibition curated by ARTUNER, which borrows its title from the writer’s most famous essay, ‘In Praise of Shadows’.

Young curator Antonia Marsh’s group show A _______ is A ______ currently on show at Golborne Gallery presents a seductive dystopian vision of everyday life. Although on the surface the small gallery may appear to be a complacent collection of works revelling in the mundane, there is a distinct punk spirit to be felt and a tangible yearning for something better than that which is.

With white-washed walls, large colour-splashed figurative canvases, beautifully-bound catalogues and a seriously cool London address, Timothy Taylor is a contemporary art collector’s dream space. Currently exhibiting Eddie Martinez’s second solo show, Cowboy Town, Timothy Taylor has, yet again, shot the lights out.The paintings are raw, bold and predominantly figurative.

It’s a big year for Marylebone-based Lisson Gallery, as it celebrates its fiftieth year in the art world with its sixteenth exhibition of Anish Kapoor’s work. This new show represents a development in Kapoor’s oeuvre - one that is made possible by drawing on many recognisable elements of his work.

White Rainbow gallery has united five artists’ explorations of the notion of weightlessness, displaying how artists reconfigure material to distort their physical properties, or so the press release claims. The room is mostly filled with sculptural forms, except for a few wall-mounted works by artist duo Ittah Yoda that hang quietly triumphant behind their neighbours who, despite all their efforts, only seem to prove the rule that weight is an aspect that simply cannot be altered.

“The cliche of the journey being the destination is partly true in this case,” opened Neville Wakefield at the inauguration of the Desert X biennial in Palm Springs. Lasting until April 30, Desert X brings together 14 artists investigating the broad cultural, social, and ecological impacts of the desert. Set across 40 square miles of the Coachella Valley, the works take viewers to nature preserves, A-frame motels, and underground survival shelters. 

Gone are the days of Hudson’s ultra-bright psychotropic jungle scenes; instead we are treated to pastel-coloured ski slopes with a custom Scagliola floor to match. The exhibition is performative, energising and entirely aesthetic yet, despite all of the niceties, there is an underlying sense of foreboding.

So wrote Germano Celant in 1967 in his post-exhibition manifesto, Arte Povera: Notes for a Guerilla War.  Celant, now the Artistic Director of the Fondazione Prada in (Milan), linked the Italian neo-avant-gardes conceptually, rather than with or to any formal or stylistic bases.  Celant saw the artists common desire to destroy "the dichotomy between art and life" with process-oriented practices.

Where is Further Away? How far can our imagination carry us? To Cuba, to a place of little sense, to the boundary between life and death? The ten artists featured in this exhibition at Copeland Gallery do precisely that: they transport the viewer somewhere they have not ventured yet. Curated by India Dickinson, the journey begins with Ivo Morrison’s indigo fantasies, where oneiric worlds are shrouded in mystery and nostalgia.

Playful shapes in primary colours seem to defy gravity at Pace London this June. Joel Shapiro’s whimsically hung sculptures inaugurate the artist’s first solo exhibition at the London space, where seven vibrant sculptures and a selection of works on paper make for a subtle yet refined overview of Shapiro’s recent output.

Founded in early 2015 by Patrick Barstow, PM/AM is a gallery space, which aims to challenge the existing models that we use to interact with art. By introducing 3D glasses and ocular manipulation, Ry Bradley’s exhibition: 21th Century does just that. Juxtaposing the white and grey setting are Bradley’s kaleidoscopic pieces. French impressionism immediately springs to mind, as the paintings are reminiscent of Monet’s Water Lilies.

When asked about the title of his exhibition at Sotheby's New York headquarters, Hudson responded, "Sun city tanning is actually the tanning salon next to my studio in east London.  When I Instagram, it always comes up as my location feed.   But I thought it worked well for the title of the show in regard to ayahuasca being the drug of the "kale" age, and how churches and public buildings in urban cities..

Known for its cutting-edge commentary on contemporary art, the Turner Prize 2016 opened at Tate Britain, London on September 27th, marking its 32nd year in existence. As ever, this year’s prize attracted media scrutiny upon the early announcement of its four nominees back in May, inviting the usual refrains of  "is it art?" and "what does it mean?" Fittingly then, the exhibition opens with Helen Marten’s (purposefully) enigmatic installations. 

Georgia O’Keeffe’s retrospective at Tate Modern coincides with the much-anticipated Switch House extension, but has independently attracted thousands of summer visitors. It is perhaps because the great American modernist gave a voice to those influential female artists overlooked during the twentieth century. Curated by Tanya Barson, the exhibition brings together six decades of O’Keeffe’s work.

Tate Britain’s first exhibition celebrating the birth of photography and its consequential impact on British art of the Victorian and Edwardian eras quite frankly lacks the pizzazz needed to make it flash. With the curators adopting a comparative approach, juxtaposing original photographs and oil paintings in a simplistic ' two works depict the same subject matter kind of way'  little is left to the imagination.

Heartbreak is at the root of Jorge Mayet’s latest exhibition Broken Landscape on view at Richard Taittinger Gallery, New York. Upon entrance the viewer is struck by a large upheaved tree, a hallmark of Mayet’s oeuvre and the repeated sculptural realization of this motif comprise his latest body of work. The uprooted trees fabricated from sponge, wire, papier-mâché, textiles and acrylics hang suspended in the gallery space creating an eerie hovering garden.

The ordered chaos of the Fitzroy Park Allotments on the edge of Hampstead Heath has lately been invaded. It has been besieged by a series of installations and site-specific artworks in an exhibition entitled Closer To The Veg, so that it's now overrun with the likes of ring-necked parakeets. So different is this exhibition curated by Olga Mackenzie and Sasha Galitzine that it's drawn many curious Londoners to see work by 16 artists. 

In June the Culture Circle Gallery hosted a private view of the American artist Olivia Steele’s (b. 1985) new body of work Faux Real. Born in Nashville, Tennessee the contemporary visual artist lives and works between Berlin and Mexico. Olivia's artistic style is distinctive as she employs the commercial medium of neon glass.

Richard Serra once said, “I consider space to be a material.” In the case of Dia:Beacon, the primarily Minimalist art collection né box factory, his words ring true. The expansive space located in the upstate New York township of Beacon does not overwhelm the artworks but instead enhances the viewer’s experience of being both with the works and within them. The broad hallways, high ceilings and labyrinthine layout allow visitors to quietly navigate their own route. 

Born in 1929, the 87 year-old Japanese artist Yayoi Kusama, has been producing iconic and thought provoking works for more than six generations. Having exhibited her work in both galleries and museums around the world for decades – her last UK retrospective was at the Tate Modern in 2012 - there seems to be no sign that Kusama has any intention of slowing down. She is, in fact, more prolific than ever before. 

In the grand hall of the Victoria and Albert Museum, London sits a giant clam shell, occupied at any time by a tourist attempting to affect that pose: weight on one leg, hip pushed into an alluring curve, a hand raised over a breast, the other clutching an imaginary rope of salt-encrusted hair over their modesty. Such is the enduring popular appeal of Sandro Botticelli’s (1445-1510) most famous painting, Birth of Venus...

Painting Made Me Do It is a group show focused on the physical act of painting with ideas drawn from Michael Blackwood’s documentary A Life Lived about Philip Guston. It features work from Hannah Bays, Asger Harbou Gjerdevik, George Little and Jessie Makinson - all of which have attracted serious interest across the London art world from the likes of  Saatchi and Marcus Harvey of Turps Banana. 

Over the past couple of years, Frieze New York has gained a reputation for being one of the world’s most influential contemporary art fairs with 202 galleries and 3 curated sections. Although Frieze has been running in Regent's Park, London since 2003, the New York version was only launched by Frieze Magazine in 2014. It's a testimony to the prestige upheld by the fair that New Yorkers..

When I think of Vogue, I simultaneously think of glamour, beauty, haute couture and a world of unaffordable luxury that I will never be a part of. As I turn page after page of the latest edition, sipping my almond milk latte in a Parisian café in the septième I am, however, momentarily convinced that I am indeed a part of this world. 

TEFAF Maastricht’s reputation precedes it and after a couple of days wandering around this extraordinary art fair, there’s no doubt that it’s Europe’s finest. The collection of art, photography, jewellery and antiques does not try to provoke or shock; it is elegant and sophisticated. Running until the 20th March it's not too late to attend. The fair upholds its core values of excellence, expertise and elegance, as it’s notoriously difficult for exhibitors...

Staging its first all-female show and coinciding with their 30th Anniversary is the Saatchi Gallery latest exhibition Champagne Life. There is a belligerent issue around the notion of all-female shows. Arguably, this deliberate 'all-female' label could be perceived as tokenistic, but I put it down to the fact that female insurgence is trending. Remember the HeforShe campaign, ‘tampon tax’ outrage or that ‘equal pay’ debate? 

Set within the Courtauld Institute of Art, Artificial Realities is the twelfth edition of the East Wing Biennial, an iconic contemporary art exhibition in London. For the show artists have been brought together to explore the realm between reality and falsehood. With works by Anthony Gormley, Tracey Emin and Edmund de Waal, the sculptures, photographs, paintings and installations challenge the viewer to explore their own perception of reality. 

Alongside exhibitions of Lucio Fontana and Alberto Burri’s work in Mayfair this month, we now have another post war Italian painter joining the ranks. Afro Basaldella’s exhibition has just opened at the Connaught Brown gallery on Albemarle Street, London. Despite it being the night before the Frieze art fair’s private view, the gallery was overflowing with collectors, painters and...

The American artist Bruce Nauman was born in Indiana in 1941. From MoMa to Deutsche Guggenheim and even the Venice Biennial, his work has travelled the world. Nauman is known for his interdisciplinary approach. Engaging with existential dichotomies like love and hate as well as pleasure and pain, he has worked across a diverse array of mediums. His fascination...

I think that the Soundscapes exhibition at the National Gallery, London was what every art exhibition should be. There were only six paintings, but all of your senses were engaged and we left feeling enriched in mind, body and soul. What I loved about the exhibition was that it was one of the first times I've seen an audience sit, lie or stand before a work for more than the few seconds it takes to take a photograph or read the blurb. People were spending ten, even fifteen or ...

Richard Diebenkorn is an American modernist whose current retrospective at the Royal Academy has been declared a “blast of fresh air” by the Telegraph. Last exhibited in London at the Whitechapel Gallery in 1991, the time has come for his work to be reconsidered by a new generation. Moving between abstract expressionism, abstraction and figuration, we are swept up in the oeuvre of an artist who embodied the stylistic progression of twentieth-century American art.

Following the annual Summer Exhibition and the Dennis Hopper retrospective it's been an impressive summer for art at the Royal Academy. The subject of their latest retrospective is "the colossus of contemporary art" Anselm Kiefer, the German painter and sculptor who was born in 1945. He illuminates the wonders of human experience by drawing from mythology, history and poetry. Known for his confrontational artwork, he finds inspiration in the holocaust survivor...

Bringing together twenty years of sculptural development, the exhibition captures the diversity of Lambie’s work. As part of The Edinburgh festival and Generation: 25 years of Contemporary Art in Scotland, his retrospective has invited critical acclaim and brought thousands of visitors through the doors of The Fruitmarket gallery. The retrospective spans from 1996 to the present day in a timeline of his development as a conceptual artist.

L’Institute Suedois , 11 Rue Payenne, Le Marais is famous for its nihilistic café and magical gardens obscured by the palatial exterior. The concept behind its exhibition was total rejection of the contemporary mass producing art in the 21st century, as the emotional impact is lost. A hypothesis which was pondered at length by the German aesthetics philosopher Immanuel Kant who believed that great art had to have a depth of soul beyond its aesthetic value.