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Issue 45 – Spring 2019

Contents r évo s t i s © B e r t r a n d P

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P h o t o © C e n t r e Po m p

Open Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 With London-based Mike Nelson, the next artist to undertake the Tate Britain Commission for the Duveen Galleries

Diary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Our pick of UK and international exhibitions beyond Tate this spring

My View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Ismail Einashe reflects on Tania Bruguera’s Hyundai Commission at Tate Modern in the context of the European migration crisis

Opinion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 John-Paul Stonard suggests that the most powerful art is often based, not on truth, but on elaborate fabrication

Art & Education . . . . . . . . . . . . . . . . . . . . . . . . . 21 The findings from a recent survey reveal that teenagers view arts subjects as an essential element of their education, writes Robert Hewison

View from Brazil . . . . . . . . . . . . . . . . . . . . . . . . 23 Jochen Volz argues that the artist’s idea of the model can be a useful tool to look at ‘multiple truths’ that exist in our world

Pierre Bonnard at Tate Modern . . . . . . . . . . . . . . 36 To coincide with TheCCLandExhibition:PierreBonnard: TheColourofMemoryat Tate Modern, writer Barry Schwabsky celebrates the master of colour who often worked from memory, capturing fleeting moods and moments in unconventional compositions

Don McCullin at Tate Britain . . . . . . . . . . . . . . . . . . 58 Tate Etc. editor Simon Grant visited the internationally acclaimed photographer Don McCullin at his Somerset home to hear the story of his extraordinary life, on the eve of his retrospective l l i n

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Pierre Bonnard The Studio with Mimosa 1939–46, oil paint on canvas, 127.5 × 127.5 cm

Don McCullin On a hill in Da Nang, Vietnam, a priest hears soldiers' confessions 1969

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