Lynette Yiadom-Boakye’s enigmatic silhouettes, sensational seeds and a tricky four-way showdown – the week in artwork | Artwork and Design

Exhibition of the week

Lynette Yiadom-The Better of Lynette
Flawless and mesmerizing work that create thriller and depart you haunted, just like the covers of novels not but written.
Tate Britain, London, till 26 February.

Present and

The Colony Room I, 1962, by Michael Andrews. Picture: Property of Michael Andrews / Tate Picture: Mike Bruce Courtesy of Gagosian

Buddies and Relationships
4 nice painters – Francis Bacon, Frank Auerbach, Lucian Freud and Michael Andrews – compete to color the unstated reality.
Gagosian Grosvenor Hill, London, till 28 January.

Tony Swain: Desert View
Half collage, half portray, Swain’s artwork has a ruinous grandeur.
Fashionable Institute, Glasgow, till 14 January.

Unnamed by Davinia-Ann Robinson in Fugitive Seeds.
Unnamed by Davinia-Ann Robinson in Fugitive Seeds. Pictures: Paola Bernardelli

Fugitive seeds
The colonial symbolism of botany is teased out by Larry Achiampong and David Blandy, Minji Choi and others.
CCA, Derry, till 21 December.

Artists who make books: from poetry to politics
Artist books and bibliophile interventions from the modern Center East, together with Kareem Risan’s meditation on an explosion in Baghdad.
British Museum, London, till 17 September.

Image of the week

A water-damaged scanned print from Parr's original 1991 shoot.
Acropolis Now… a water-damaged scanned print from Parr’s authentic 1991 shoot. Picture: Martin Parr/Magnum Pictures

Martin Parr visited Athens in 1991. Prints from his filming there have been broken by water and he has now digitally scanned them to provide a collection he has known as Acropolis Now. “Initially I panicked after I realized my prints had been broken by a leak in my workplace,” says Parr. “Nonetheless, I assumed, these look fascinating. Actually, to be brutally sincere, they have been higher than the originals.” See the gallery right here.

What I realized

Artwork approached soccer

Architect Daniel Libeskind has joined the struggle to save lots of Kurt Schwitters’ Merz barn in Cumbria

John Betjeman’s marketing campaign to save lots of London’s Liverpool Road station is being revived

A convoy of Ukrainian fashionable artwork made a daring journey to Madrid

A brand new exhibition captures Sussex’s primeval paradise

British-Kenyan artist Grace Ndiritu’s invitation to ‘shamanic journeys’ received the Jarman Prize

An artist campaigns for the renaming of a mountain

The Parthenon was created in a stunning shade

Zanele Muholi rewrites the black queer and trans visible historical past of South Africa

The Surrealists would have made a enjoyable fantasy soccer staff

A man-made intelligence thinks a disputed portrait might be a Renoir

Masterpiece of the week

Andrea del Verrocchio Head of a Woman c. 1475
Picture: © The Trustees of the British Museum

Head of a lady, c 1475, by Andrea del Verrocchio
Taking a look at this delicate view of a younger lady, it’s simple to guess that Verrocchio was Leonardo da Vinci’s trainer. The intricacy of her coiffure nonetheless echoed in Leonardo’s artwork within the early 1500s, when he drew equally braided locks in his sketches of Leda and the Swan. There may be additionally a realism in Verrocchio’s drawing which has a lot in widespread with Leonardo’s youthful portrait of Ginevra de’ Benci, which was performed about the identical time as this examine: though at first sight it’s simple to name the portrait to Verrocchio “idealized”, he in truth. he shades his options with fleshy verisimilitude and hints at his interior life. That is paying homage to Botticelli, who was additionally starting to depict ladies with intense poetry at the moment. In brief, it is a gem of Renaissance Florentine artwork and its adoration of girls.
British Museum, London

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