Fisun Güner

Lee Krasner died in 1984, just a few months before a major travelling retrospective of her work was due to open at its final stop, at the Museum of Modern Art in New York. This doesn’t, after all, suggest a marginal or neglected figure, at least not in America. Nonetheless, on both sides of the Atlantic, Krasner has always been regarded as an artist on the periphery of Abstract Expressionism, while her husband Jackson Pollock, who died in 1957, received all the fame and glory, both during his life and posthumously. What this brilliant survey demonstrates is that she deserves all the accolades previously heaped on her male counterparts.

So much angst, sickness, death and yes, love, but only of the most magnificiantly moribund kind, fills the gallery at the British Museum in this wondrous show. The Norwegian artist was a great graphic artist and print-maker, and this hugely enjoyable exhibition explores the themes and ideas he was drawn to throughout his life, and shows you what a thrillingly innovative printmaker he was.

This small, exquisitely formed exhibition explores the work of Hepworth and Nicholson during the decade in which they first met, became lovers, left their spouses, married and had triplets. But it was much more than a romantic partnership, for creatively they flourished. They rarely collaborated on particular works, but each drew inspiration from the other and the works in this exhibition – paintings, cut-out reliefs and works on paper by Nicholson and carvings by Hepworth – show how wonderfully that creative partnership developed.

This is an impressively wide-ranging exhibition of the Hungarian artist who excelled as an experimental photographer, kinetic sculptor, painter and printmaker, as well as a leading teacher at the Bauhaus. The school was founded 100 years ago in Weimar, and after it was shut down by the Nazis during its final phase in Berlin, Moholy-Nagy left for America, founding a school in Chicago which he called the New Bauhaus. This exhibition celebrates that centenary with one of its most pivotal figures.

This is the first presentation of the work of the 64-year-old Colombian artist José Antonio Suárez Londoño. His tiny and meticulous figurative drawings on paper are usually no bigger than a postcard, and here 130 pieces range across the walls and glass cabinets of the gallery. Superb.

A rare showing of Derek Jarman’s paintings is in its last week, so do hurry if you want to catch this. The tar-relief paintings in the exhibition were made in 1988 to 1990, when Jarman was also busy creating his garden at Prospect Cottage, Dungeness. The wonderful title is taken from a chapter of his book Chroma, and they are deeply elegaic and quietly powerful.

Claudette Johnson was a member of the BLK Arts Group in the 1980s, which supported black British artists and organised pivotal exhibitions of their work. This four-decade survey of drawings and paintings of single figures are ostensibly portraits but their real subject is black representation and identity. Read my Q&A with the artist here.