Alice Maher: The Glorious Maid of the Charnel House

The subtly of Alice Maher’s work lies not only in its flawless execution but in her ability to weave narratives of personal trauma with references from fairy tale, psychoanalysis, anthropological myth and the history of botanical illustration.

Georgiana Houghton: Spirit Drawings. The Courtauld Gallery

…it might be suggested, in Freudian terms, that her work was produced as a result of sexual repression or hysteria, not dissimilar to the ‘organismic’ ecstatic visions experienced female Catholic saints.

Strange and Familiar: Britain as Revealed by International Photographers

It is a truth pretty much universally acknowledged that the past is another country. But that this country, this green and pleasant land should be seen as ‘other’, experienced through ‘foreign’ eyes, provides an interesting perspective on our identity.

Stan Douglas: The Secret Agent

by Sue Hubbard It is said that the camera never lies – but that was before things went digital. At the Victoria Miro Gallery, Stan Douglas has created a number of disturbingly hyperreal images with the use of digital technology that give the illusion of documentary accuracy. These theatrical black and white mise en scènes…

Chantal Joffe, Victoria Miro, Mayfair, London

It’s those who are not entirely comfortable within the all-encompassing duvet of family life that prove to be interesting. Their quirks and idiosyncrasies lead them to become artists and writersor simply that awkward, interesting child who doesn’t want to join in but rather watch clouds, read a book, draw or make up stories.

TIIME and SPACE. Richard Long. Arnolfini, Bristol until 15th November 2015

In that sense his walks are pilgrimages for a secular age, when in all the rush and razzmatazz there is simply the movement of the walking body, the breath, the landscape, the ‘now’.

Barbara Hepworth: Sculpture for a Modern World. Tate Britain until Oct 2015

It too easy to dismiss Hepworth’s work as dated, the sort of sculpture with its holes and strings that was satirised in Punch magazine in the 50s and 60s as ‘modern art’.