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Exhibition of the week
Lubaina Himid
Painting, conceptual critiques and robust satire influenced by Hogarth all help make Himid one of the crucial artists of our time.
Tate Modern, London, 25 November to 3 July.
Also showing
David Shrigley
The surreal commentator on modern life invites you to bring your old tennis balls to swap for new ones in an installation he claims is a celebration of trade – but there’s bound to be a darker side.
Stephen Friedman Gallery, London, until 8 January.
Howardena Pindell
Survey of this radical artist that sets her abstract canvases alongside more polemical interventions, including her 1980 video Free White and 21.
Fruitmarket Gallery, Edinburgh, until 2 May.
Dürer’s Journeys
The timeless genius of Dürer’s prints is undimmed by this slightly meandering trawl through his travels.
National Gallery, London, from 20 November to February.
Fabergé in London
A trip to the gilded Edwardian age when wealthy Brits fell in love with Russian luxury.
V&A, London, from 20 November to 8 May.
Image of the week
An assistant at Sotherby’s displays Frida Kahlo’s self-portrait Diego y yo (Diego and Me, 1949), which went under the hammer on Tuesday and sold for $34.9m (£25m). This made it the most expensive Latin American work of art ever sold at auction – ironically beating the record previously held by Kahlo’s adulterous husband Diego Rivera, whose likeness occupies the position of Kahlo’s third eye in the painting. Read the full story here.
What we learned
Downing Street signalled a softer stance on returning the Parthenon marbles
Jesus College, Cambridge, wants to remove a memorial to a patron with links to slavery …
… and the Museum of the Home, in London, may move a statue of its founder for the same reason
Battles are looming over the use of works by long-dead artists
Dürer’s Journeys at the National Gallery in London opened to a sedate plod
Ai Weiwei’s memoirs are an assault on the censors
David Hockney finds wellness boring, bossy and ridiculous
Artist Yang-tze is making calligraphy cool
Celebrity beasts in art are being explored in Birmingham
Art from an acrimonious divorce raised $676m at Sotheby’s in New York
The Guardian gave its view on the true worth of Frida Kahlo
Japanese photographer Eikoh Hosoe’s vision is intense
Photographer Gordon Parks is celebrated a new HBO documentary
Alain Le Garsmeur’s best photograph was of a children’s funeral in Belfast
Terence Abela has photographed the abandoned spaces of the former USSR
A street art installation in Madrid has caused a political row
Katherine Anne Rose photographed the protest art at Cop26
Global heating is destroying rock art tens of thousands of years old
The documentary No Straight Lines explores the history of LGBTQ+ comic books
A documentary on mould-breaking queer New Zealand photographer Fiona Clark has been released
The north of England is full of exquisite treasures we don’t hear about
The royal family are putting their collection of Japanese art and artefacts on show
Wolfgang Fischer, co-founder of London gallery Fischer Fine Art, has died
Artist Nuits Balnéaires told the stories of N’zima Kotokô tribe families in Ivory Coast
Bangladeshi architect Marina Tabassum has won a medal for her humanitarian buildings
A New York billionaire want to build a controversial “temple for a titan” overlooking Central Park
Top photographers have donated prints to raise funds for a scholarship in photojournalism
Why pottery is enjoying a revival …
… and pictures of public benches are more popular than you may think
Music photographer Mick Rock, ‘the man who shot the 70s’, has died aged 72
Masterpiece of the week
Parade Shield (northern Europe c 1470)
You can’t get a more perfect embodiment of late medieval chivalry than this painted shield in the style of the Bruges artist Hans Memling. A knight in full armour bends his legs down to pledge himself to his lady, vowing according to the shield’s French inscription: vous ou mort – “You or Death.” She gravely accepts his proffered love, standing over him in a long dress and a pointed hat called a hennin. They are enacting courtly love, the medieval ritual in which it was hard to tell fake passion from the real thing. Yet the game is given terrible intensity by the actual presence of Death. Taking the form of a skeleton, the reaper stands behind the knight, ready to snatch him at a moment’s notice should he fail to fulfil his vow. By mentioning Death, he has invited it.
British Museum, London
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