A Swansea takeover and a phallic Antony Gormley – the week in art

Exhibition of the week

In Your Face: Strange Reflections
A queer acquisition that deconstructs this gallery’s “largely heteronormative” collection and opens up new ways of looking at art.
• Glynn Vivian Gallery, Swansea, until 18 September

also showing

Alan Davie
Incisive and memorable abstract paintings of Scotland’s response to Jackson Pollock.
• Dovecot Studios, Edinburgh, until 24 September

known and strange
Surrealist contemporary photographs by artists such as Dafna Talmor, Mitch Epstein and Maurizio Anzeri.
• V&A, London, until 6 November

The Woodpecker Factory
A closer look at the Victorian woodcutters, the Dalziel Brothers, who helped the Pre-Raphaelites reach a wide audience.
• British Museum, London, until 4 September

image of the week

These clay heads by Daria Koltsova are part of The Captured House, an exhibition of work by around 50 Ukrainian artists, all made during and about the war. Koltsova escaped through Moldova to Palermo, where she began making a head for every Ukrainian child whose death made the news. The exhibition opened in Brussels and aims to make a global tour as part of a Ukrainian diplomacy campaign. Read the full story here.

what we learned

• The gender price difference in the art world is really shocking

• The last public sculpture proposed by Antony Gormley may (but may not) have a ten-foot phallus

• The Edinburgh Art Festival has something for all art lovers

• The portrait of a tyrannical governor of Trinidad who was removed after the BLM protests is back in view in Wales

• French graphic artist and painter Jean Jullien returned to the beaches and countryside of his youth

• The vibrant work of Ghana-born, London-based photographer James Barnor captured another side of the bustling 60s

• Danish photographer Krass Clement rediscovered 90s Belfast

• Paul Lowe’s best work captured a moment of innocence during the siege of Sarajevo

• Female in Focus photography award captures the many faces of femininity

masterpiece of the week

Saint Jerome in Penance for Sodom (1477-1549)

Saint Jerome in Penance for Sodom (1477-1549)

Saint Jerome at Penance, c 1534-45, by Sodom
Renaissance artist Giovanni Antonio Bazzi was given the nickname Il Sodoma because he was said to be a “sodomite”. There were no equivalents in premodern language for terms like gay or queer. Homosexuality was equated with the mortal sin of sodomy, and yet, in Italy at least, there was room for alternative sexualities. Leonardo da Vinci was accused of sodomy, but released, and rumored to love his assistants. By chance, there are echoes of the Tuscan polymath in this painting: Leonardo also portrayed a nude ascetic Jerome. There is no proof that Sodom was gay, but this muscular painting has a deep feeling for the masculine form, and the very fact that an artist could achieve such a reputation without harming his career is revealing about the openness of Renaissance Italy.
• National Gallery, London.

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