
The founder and main promoter of the German Expressionist group Die Brücke (The Bridge), Ernst Kirchner started out as a self-taught artist while still studying architecture at the Technische Hochschule in Dresden, where he was awarded the 1905 diploma. In 1904 he moved temporarily to Munich, where he worked in the studio of Wilhelm Debschitz and Hermann Obrist and became acquainted with the woodcut technique through Dürer’s work. Back in Dresden, in June 1905 he was involved – together with Fritz Bleyl, Erich Heckel and Karl Schmidt-Rottluff — in creating the revolutionary minded and intensely active Brücke group. His interest in primitive art, which he viewed at Dresden’s Ethnographic Museum, was reflected in both his paintings and the furniture and murals he produced for the studio he shared with Heckel in a former butcher’s shop in the working class district of Friedrichstadt.
The founder and main promoter of the German Expressionist group Die Brücke (The Bridge), Ernst Kirchner started out as a self-taught artist while still studying architecture at the Technische Hochschule in Dresden, where he was awarded the 1905 diploma. In 1904 he moved temporarily to Munich, where he worked in the studio of Wilhelm Debschitz and Hermann Obrist and became acquainted with the woodcut technique through Dürer’s work. Back in Dresden, in June 1905 he was involved – together with Fritz Bleyl, Erich Heckel and Karl Schmidt-Rottluff — in creating the revolutionary minded and intensely active Brücke group. His interest in primitive art, which he viewed at Dresden’s Ethnographic Museum, was reflected in both his paintings and the furniture and murals he produced for the studio he shared with Heckel in a former butcher’s shop in the working class district of Friedrichstadt.

Tate, in collaboration with Delfina Foundation, invites applications for the Brooks International Fellowship Programme 2027. Now in its thirteenth year, the programme will enable practitioners to work with Tate…
Arnold J. Kemp: Not One Thing is the first institutional survey of work by the Chicago-based artist Arnold J. Kemp (b. 1968, Boston). The exhibition focuses on Kemp’s performative and material tendencies of masking, traced through various media.
Julie Bullard, a work of photographic fiction by Nadia Lee Cohen and Martin Parr. The book is designed as a late-seventies photo album, closely modelled on an example acquired from eBay, complete with faux leather spongy board covers…
The exhibition presents Kitaj’s complete portfolio, rarely exhibited in its entirety, of fifty silkscreen prints, created between 1969 and 1970, titled In Our Time: Covers for a Small Library After the Life for the Most Part.
The Other side of the Mountain brings together contemporary artists working across the African continent and within the Afro-Nordic diaspora. They explore how cities and modern landscapes shape our connections to one another…