Exhibition of the week<\/p>\n
A Call to Art Also showing<\/p>\n The Night Journal Robert Rauschenberg M\u00f3ti Collective Wilhelmina Barns-Graham Image of the week Photograph: Lotus L Kang<\/p>\n This image may share the unpretentious quiddity of Giorgio Morandi\u2019s bottle paintings<\/a> and the prismatic lucidity of Rodric O\u2019Conor\u2019s<\/a>, but it is not an everyday still life. At the Venice Biennale, Lotus L Kang arranged 49 bottles of spirits in front of film reels of tidal mudflats and visualisations of birdsong, to reflect the Buddhist belief that a soul spends 49 days between death and rebirth. The images are now part of Kang\u2019s shortlisted entry for the prestigious Deutsche B\u00f6rse photography prize<\/a>.<\/p>\n What we learned<\/p>\n The Bayeux tapestry has become a pop culture hit<\/a><\/p>\n As the prestigious Deutsche B\u00f6rse photography prize marks its 30th anniversary, this year\u2019s nominees considered surveillance and sabotage<\/a><\/p>\n An excellent survey of LS Lowry depicts northern England as a spirit-crushing dystopia<\/a><\/p>\n The Iranian photographer Hoda Afshar\u2019s work is beautiful \u2013 and shocking<\/a><\/p>\n Fans swarmed San Francisco for a BTS star\u2019s art exhibition<\/a><\/p>\n skip past newsletter promotion<\/a><\/p>\n Sign up to Art Weekly<\/p>\n Your weekly art world round-up, sketching out all the biggest stories, scandals and exhibitions<\/p>\n after newsletter promotion<\/p>\n Masterpiece of the week<\/p>\n Autumn Evening by Henri-Joseph Harpignies, 1894<\/p>\n Photograph: National Gallery, London<\/p>\n This painting is a reminder that art isn\u2019t really a progression from old to new, a wave of movements displacing the past, but a great big fascinating mess, with artists at any one time working in many styles, including archaic ones. For this calming, eerily beautiful view of rusty-leaved birches against a bronzed evening sky was painted in the 1890s when C\u00e9zanne, Munch and Toulouse-Lautrec were building modernism \u2013 but Harpignies has absolutely no interest in that. This painting is not even touched by impressionism, which had started in the 1870s. Instead it is completely loyal to the artistic ideas of the painter\u2019s youth. Born in 1819, Harpignies was a diehard classicist steeped in the light of Italy that he saw on his travels. This landscape has the same charm as finding a totally archaic bistro in a remote French village and eating its coq au vin as the sun goes down. Sign up to the Art Weekly newsletter<\/p>\n If you don\u2019t already receive our regular roundup of art and design news via email, please sign up here<\/a>.<\/p>\n Get in touch<\/p>\n
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If you feel you need to see another exhibition about William Morris and the pre-Raphaelites, get yourself to Cambridge for this exploration of late Victorian art and politics.
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Fitzwilliam Museum, Cambridge, until 3 May<\/a><\/p>\n
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Aisling O\u2019Beirn, Wilhelmina Peace and more meditate on the night: what does it mean when the world goes dark? One for Halloween maybe.
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CCA Derry until 19 December<\/a><\/p>\n
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A special display from the Artist Rooms collection of the great magician of found stuff, with an emphasis on his later work \u2013 was it a falling off, or seriously underrated?
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Tate Modern, London<\/a><\/p>\n
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A collective of no fewer than 17 artists and designers who work in Orkney celebrates their 10th anniversary in a gallery evocatively placed on Stromness harbour.
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Pier Arts Centre, Stromness, until 24 December<\/a><\/p>\n
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The Cornish landscape becomes a bony but ethereal abstraction in this modernist painter\u2019s work.
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Tate St Ives until 3 May<\/a><\/p>\n
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National Gallery, London<\/a><\/p>\n