Cash as a canvas, Turner is back and the footy is in fashion: the week in art

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<p><figcaption class=Photograph: The Fitzwilliam Museum / PA

Show of the week

Art of the Terraces
Mark Leckey and others look at the casual football subculture.
• Walker Art Gallery, Liverpool, 5 November-12 March

Also showing

Turner on tour
Two majestic European scenes by JMW Turner on loan from the Frick Collection in New York.
• National Gallery, London, until February 19

An investigation into how money has been altered or destroyed as a protest and art, from suffragettes to Banksy.
• Fitzwilliam Museum, Cambridge, until 8 January

Giovanni Currin
The grotesque and the beautiful are intertwined in the perversions of Currin’s Renaissance art.
• Sadie Coles HQ, London, through November 26th

Amy Sherald
A retelling of VE’s photo of a couple kissing in New York is among Sherald’s latest essays on portraiture and history.
• Hauser & Wirth, London, until 23 December

Image of the week

Andy Warhol’s White Disaster (White Car Crash 19 Times) is expected to reach $ 80 million when it goes up for auction in New York later this month. The 12-by-6-foot screen-printed canvas, which is part of Warhol’s Death and Disaster series, hasn’t been seen in public for 15 years. Experts say that the elevation of the work of a macabre accident is linked to the artist’s Catholicism and aims to arouse awe.

What we have learned

Francis Bacon nearly lost an eye after a drunken brawl with his lover

A man was jailed after gluing his head to The Girl with a Pearl Earring

The authenticity of a Vermeer painting caused a transatlantic stalemate

A Mondrian painting has hung upside down for 75 years

The invisible work of New York photographer Saul Leiter has been unearthed

Australian painter Nicholas Harding and Norwegian artist Christopher Rådlund died

A sketch by Rembrandt described as a “crude imitation” was found to be authentic

Head On photography festival is back in Sydney

Masterpiece of the week

Execution of the Conspirators in the Gunpowder Plot, 1606, of Claude Jansz Visscher
Remember, remember: as bonfire night in Britain gradually becomes less of a Protestant ritual, this drawing connects us with its origins. The annual commemoration of the foiling of the Catholic gunpowder conspiracy and the arrest of Guy Fawkes in the fall of 1605 was instituted by law the following January with the passage of the November 5th observance law. This drawing shows the atmosphere of terror and violence in which this official holiday was invented. Here some of the doomed conspirators are dragged through the streets, hanged to almost – but not quite – dead, then gutted and dismembered, their limbs and entrails thrown into the fire. This is a precise visual representation of what “hanged, drawn and quartered” meant for high treason. Visscher shows not only the details of this terrible rite, but its popularity: a respectfully attentive crowd of well-dressed men and women watch, while children play in the smoke and blood. Just like bonfire night.
• British Museum

Do not forget

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