Exhibition of the week
Sarah Sze, The Waiting Room
Fragments of modern life gathered and reconstituted in an installation supported by Artangel. Read our review here and our interview here.
• Peckham Rye Station, London, until 16 September
Also showing
Decades: The Art of Change 1900-1980
The story of modern art from fauvism to minimalism, weaving in Scottish artists including Paolozzi and Eardley.
• Scottish National Gallery of Modern Art, Edinburgh, until 7 January
Frank Bowling
The sensual, haunted abstract painter creates an epic digital artwork for the Piccadilly lights.
• Piccadilly Circus, London, until 30 June
Sea Change
Melanie Manchot, Simon Faithfull, Dana Olărescu and Raqs Media Collective imagine sustainable responses to the climate crisis.
• Royal Docks, London, until 29 May
Lawrence Lek, Black Cloud Highway
A cinematic installation that explores digital futures through a sci-fi city called SimBeijing.
• Sadie Coles 1 Davies St, London, 20 May to 24 June
Image of the week
“We’ve done so much damage; it’s not just about stopping that but also examining our hope for nature to renew,” said Beatriz Milhazes ahead of a historic survey of her work at Margate’s Turner Contemporary. The Brazilian artist discussed her global inspirations, shape-shifting patterns, and why she’s still an optimist. Read the full interview here.
What we learned
Andy Warhol’s Prince battle went all the way to the US supreme court
Glasgow Women’s Library asks that you ‘keep your rosaries off my ovaries’
Home is where the heart is for Jim Ede
Kaye Donachie’s women refuse to sit still and be pretty
Japanese ceramicist Eriko Inazaki won a dream prize
Artists are pushing the boundaries of AI
A fake show about Paul Gascoigne became reality
We still love massive, panoramic paintings
A Norwich museum wants visitors to ‘release the power’ of art by touching it
Masterpiece of the week
St Michael by Carlo Crivelli, about 1476
There’s sympathy for the devil in this bejewelled painting. The green-skinned fallen angel lies naked and defeated, crushed under the blue-wrapped feet of the Archangel Michael. Satan clutches at Michael’s legs, begging for mercy. He looks up with stunned pathos. Michael meanwhile raises his weapon and looks down at God’s enemy with cool, unmoved hauteur. His armour is florid and magnificent, his hairstyle refined – he is an elegant knight dressed for the tournament field. Does Crivelli crave understanding for the fallen and wicked? This artist, exiled from Venice for adultery, was himself an errant sinner, wandering the towns of Adriatic Italy, leaving strange, sensual religious paintings wherever he washed up.
• National Gallery, London.
Don’t forget
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