Cecily Brown: ‘I was too shy to talk to all these super cool kids like Sarah Lucas and Damien Hirst’

Cecily Brown is preparing for her first major museum exhibition in her native London at the Serpentine Gallery, titled 'Picture Making'. The show features new and old paintings, monotypes, and drawings inspired by Kensington Gardens, marking a significant return for the artist who left for New York in the 1990s. Despite her commercial success with Gagosian and inclusion in major museums, she expresses nervousness about the critical reception.

Nature by the uncool YBA, armoured ceramics and dizzying Aussie abstraction – the week in art

The article is a weekly art roundup highlighting several major exhibitions opening in London and Cambridge. It spotlights a new show of nature-themed paintings by Cecily Brown at the Serpentine Gallery, ceramics by Phoebe Collings-James at Pitzhanger Manor, a career survey of Turner Prize-winner Veronica Ryan at the Whitechapel Gallery, a Frank Bowling retrospective at The Fitzwilliam Museum, and a presentation of Aboriginal Australian art at Edel Assanti. The piece also features a powerful war photograph from Iraq and includes brief news items on topics ranging from a Matisse retrospective to potential museum entry fees.

From The Drama to Malcolm in the Middle: your complete entertainment guide to the week ahead

The article is a weekly entertainment guide covering cinema, gigs, art, stage, streaming, games, albums, and other cultural events. In the art section, it highlights two major exhibitions in London and its surroundings: a solo show of new paintings by British artist Cecily Brown at the Serpentine Gallery, created in response to Kensington Gardens, and a display of Henry Moore's iconic Shelter Drawings at his studio in Perry Green, focusing on his depictions of Londoners during the Blitz.

Michael Clark’s Controlled Movements

Choreographer Michael Clark's 2003 work *Satie Studs* was revived as part of the live event programme for Peter Doig's exhibition *House of Music* at London's Serpentine Galleries. Dancer Jules Cunningham performed the minimalist solo, set to Erik Satie's piano preludes, showcasing controlled, precise movements that distilled ballet and yoga poses into a stark, deliberate sequence.

Semiprecious Stones Coat Kathleen Ryan’s Oversized Sculptures of Rotting Food

Artist Kathleen Ryan creates large-scale sculptures of rotting fruit and food items, meticulously covering them with thousands of semiprecious stones and beads to mimic the textures and colors of mold and decay. Works like "Bad Lemon (Slice of Paradise)" and "Screwdriver" juxtapose luxurious materials like amethyst, turquoise, and serpentine with salvaged metal from vintage cars, creating a dual personality of hidden beauty and grotesque rot.

‘Paper Gardens’: The Flower and the Serpent Beneath

The Museum of Art and Photography (MAP) in Bengaluru is hosting 'Paper Gardens,' an exhibition that re-examines the history of botanical art through the lens of British colonialism. While the show features visually stunning hand-coloured lithographs of rhododendrons and medicinal plants, it juxtaposes these aesthetics with the harsh realities of the East India Company’s surveys. The exhibition highlights how local Indian artists and knowledge keepers were often marginalized or left anonymous, even as their expertise was essential to the scientific and commercial success of the British Empire.

Vermont Visual Arts

The Highland Center for the Arts in Greensboro is hosting "Salt, Stone & Stars," a multidisciplinary event celebrating the Vermont pastoral tradition through literature and visual art. The program highlights the connection between two books centered on shepherding, Helen Whybrow’s "The Salt Stones" and Jody Gladding’s translation of "The Serpent of Stars," alongside the opening of the exhibition "Seasons & Cycles."

The Nicéphore-Niépce Museum is Standing Still

Le Musée Nicéphore-Niépce fait du surplace

The Musée Nicéphore-Niépce in Chalon-sur-Saône remains in a state of stagnation as long-promised modernization plans continue to stall. Despite over twenty-five years of proposals for a new facility or a "Cité de l'image," the project has become a political "sea serpent," hampered by budget cuts, staff reductions, and shifting municipal priorities. Most recently, the city declined to renew the contract of Fannie Escoulen, a former Ministry of Culture official hired to steer the project, further signaling a lack of progress.