In 1903, Wassily Kandinsky painted a figure in a blue cloak galloping across a landscape on a white horse. Several years later the name of the painting, The Blue Rider (der Blaue Reiter) was adopted by a group of friends who joined forces to exhibit together and disseminate their ideas in a publication of the same name.

With a troubled gaze and a lived-in face, the portrait of artist Alberto Giacometti on a withdrawn Swiss banknote is strange currency indeed. One need only think of the confidence and pomp with which national heroes gaze at us from Great British cash. Yet Giacometti is in the zone here, retaining the expression of weary humanity with which one imagines he probes the appearance of his sitters.

Stephen is the first feature film by multi-media artist Melanie Manchot and it’s the best debut film I’ve seen since Steve McQueen’s Hunger. It’s gripping from the first frame to the last; the tension rarely lets up as we watch the main character lying and cheating his way through life as he struggles with addiction and is fleeced by card and loan sharks. In a heart-wrenching scene, his brother Paul (expertly played by Cam Riley) begs him to seek help.

The first photograph was taken nearly 200 years ago in France by Joseph Niépce, and the first picture of a person was taken in Paris by Louis Daguerre in 1838 (main picture). 

Some 20 years later, in California, Eadweard Muybridge settled a bet – as to whether a galloping horse maintains contact with the ground – by setting up a string of cameras to record the animal galloping past. When he flicked through the resulting sequence of stills, an illusion of movement was created, and film was born.

Yinka Shonibare’s Serpentine Gallery exhibition opens with a piece of cloth twirling in the breeze; except that it’s a bronze sculpture probably weighing a ton or more – such is the power of art (pictured below right: detail of Wind Sculpture IV, 2024 with African Bird Magic, 2023).

In a sixth-floor gallery, flooded with natural light, four paintings and a handful of works on paper compete with views across the River Garonne in Bordeaux. They also vie for attention amidst a history of abstract painting, in which it can feel that everything has been done. The English painter Jane Harris (pictured below right), who sadly passed away in 2022, did find an unexplored niche, however.

At the turn of the 20th century, London’s smart set queued up to get their portraits painted by American-born artist John Singer Sargent. Sitting for him was a performance, a way to show the world just how rich, glamorous, clever or important you were. And everything – from the pose to the hair, jewellery and clothing – was stage-managed to create the best impression.

The downstairs of the Whitechapel Gallery has been converted into a ballroom or, rather, a film set of a ballroom. From time to time, a couple glides briefly across the floor, dancing a perfunctory tango. And they are really hamming it up, not for the people watching them – of whom they are apparently oblivious – but for an imaginary camera.

At last Yoko Ono is being acknowledged in Britain as a major avant garde artist in her own right. It has been a long wait; last year was her 90th birthday! The problem, of course, was her relationship with John Lennon and perceptions of her as the Japanese weirdo who broke up the Beatles and led Lennon astray – down a crooked path to oddball, hippy happenings.

Judy Chicago created Birth Project in the 1980s, recognising with typical perspicacity that the favouring of “the paint strokes of the great male painters” over “the incredible array of needle techniques that women have used for centuries” has implications far beyond the precedence of one art form over another. She saw that a gendered hierarchy of art forms had contributed to the erasure of female experience, and pointed to the “iconographic void” where images of childbirth in western art might be.