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Tate Modern Switch House

After more than a decade and over £250m in funds, Tate Modern’s new sibling has opened its doors, displaying an exhilarating approach to accessibility, flexibility and curatorial innovation

Jean-Antoine Watteau. The Line of March, c1710. Oil on canvas, 15 3/8 x 19 5/6 in. York Museums Trust (York Art Gallery), York.
Offering the quiet thrill of a cool oasis in the park, the Frick Collection has mounted a connoisseur show of little-known work by a master of his time that both instructs and refreshes.
Diane Arbus. Jack Dracula at a bar, New London, Conn. 1961. © The Estate of Diane Arbus, LLC. All Rights Reserved.
Burnished by a brilliant installation, this early work shows the storied American photographer already fully in control of the technique and vision that were to so greatly influence generations of artists to come.
Tim Slade (centre) with his crew during filming of the Mostar bridge sequence.
The Destruction of Memory charts the global loss of historic artefacts through war and terrorism. It is a film that Slade hopes will change the way governments and policy-makers view such cultural vandalism.
Marie Yates. Field Working Paper 9. – 18th June 1972 – Hillson's Ho, Harford Moor, Dartmoor, 1972. Copyright the artist. Courtesy Richard Saltoun Gallery.
A woman artist working conceptually with the landscape since the 1970s, Yates’s work has often been misinterpreted. A new exhibition at Richard Saltoun will hopefully reengage viewers in the relevant discourse.
David Hockney at the Royal Academy of Arts, London, 2016. © David Parry/Royal Academy of Arts.
The brightly coloured faces lining the walls of this exhibition show a human fascination with people. Hockney is the lens through which these images have been captured, the characters are the story of his life.
Sir Thomas Lawrence. Sir Francis Baring, 1st Baronet, John Baring, and Charles Wall, 1806-1807. Oil on canvas, 156 × 226 cm. Private collection. © Photograph courtesy of the owner.
The National Gallery sheds light on the personalities of some of the biggest names in painting, not through their work, but through the art that they collected.
László Moholy-Nagy. Construction AL6 (Konstruktion AL6), 1933-34. Oil and incised lines on aluminium, 60 x  50 cm. IVAM, lnstitut Valencia d'Art Modern, Generalitat. © 2016  Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York.
A major retrospective showcases the work of multimedia Hungarian artist László Moholy-Nagy, who pioneered the use of technology as a creative medium.
Jeff Koons. Titi, 2004-2009. Mirror-polished stainless steel with transparent colour coating, 37 7/8 x 23 13/16 x 14 7/8 in (96.2 x 60.5 x 37.8 cm). © Jeff Koons.
For the second exhibition at his gallery in Vauxhall, Damien Hirst presents more than 30 works by Koons, some of which have never before been shown in the UK.
Wolfgang Tillmans. The State We’re In, A, 2015. Unframed inkjet print, 273 x 410 cm. © Wolfgang Tillmans, courtesy Maureen Paley, London.
What is lost is lost forever, says Tillmans in this politically charged exhibition, which includes posters imploring British voters to stay in Europe. With the show straddling the date of the UK’s referendum on 23 June, it will be interesting to see what viewers make of it.
Almuth Tebbenhoff. Photograph: Kevin Sharp.
The sculptor talks about the perpetual puzzle of the cosmos and its vastness, eternity and the meaning of life – all themes running through her work, no matter what its scale.
Peter Howson. Martin, 1988. Etching, 56 x 38 cm (22 x 15 in), edition of 30. © Peter Howson, Courtesy of Flowers Gallery London and New York.
This retrospective of prints produced over four decades by Scottish artist Peter Howson, one-time member of the New Glasgow Boys and a former war artist, provides an interesting parallel with his paintings.
Ragnar Kjartansson. Barbican Art Gallery. © Tristan Fewings/Getty Images. Courtesy of the artist, Luhring Augustine New York and i8 gallery Reykjavik.
The Icelandic artist’s first UK survey exhibition serves up a palimpsest of delights that gives contemporary performance art a good name.
Mariko Mori. Photograph: David Sims. Courtesy Faou Foundation.
The artist talks about her mission to place site-specific artworks honouring nature on the six habitable continents, and her involvement with the cultural programme of the Rio 2016 Olympic and Paralympic Games.
Geoffrey Rigden. The Man Who Built The Pyramids, 2002–04. Acrylic on canvas, 75 x 90 cm. Photograph: © APT Gallery.
Much here is from his house or studio, with a number of paintings stretched up for the first time since the artist died in January. Mystical and ritualistic, yet irreverent, these are a taster of Rigden’s work.
Philip Hunter. Geobloom no.3, 2016. Oil on linen, 122 x 107 cm. Copyright the artist. Courtesy Sophie Gannon Gallery.
The Australian artists talks about the influence of Sidney Nolan, his most recent body of works, Geophonics, his interest in landscape and in events that happen below the Earth’s crust.
Georgiana Houghton. The Portrait of the Lord Jesus Christ, December 8th 1862. Watercolour on paper, 58 x 49 cm. Victorian Spiritualists' Union, Melbourne, Australia.
She was an abstract painter out of time, a visionary and a maverick, but Georgiana Houghton was also a medium, whose inspiration came from an unexpected source.
Susie Hamilton. Weeping Agin the king my fathers wrack / 2 (Ferdinand), 2011. Acrylic on canvas, 30.5 x 25.5 cm. © the artist. Courtesy of Paul Stolper, London.
Concerned with the human condition and the solitary existence of individuals, Hamilton’s paintings condense figures into a couple of suggestive brush strokes, stranded in darkness or light. This retrospective offers an overview of two decades of her work.
Manolo Valdes. © Enrique Palacio, courtesy Marlborough Fine Art, London.
Like a magpie, taking fragments from works of art that he loves and reinterpreting them in new paintings on burlap or as sculptures, Valdés is always on the look out for inspiration. He explains how his entire world is seen through the lens of art history.
Harland Miller. Back On The Worry Beads, 2016, Oil on canvas, 276 x 183 cm. Courtesy the artist and Blain Southern. Photograph: Peter Mallet.
The writer and artist discusses Berlin, Bowie and alter egos, his show with Blain Southern, and why he won’t use 10 words when 20 will do.
Bhupen Khakhar. You Can’t Please All, 1981. Oil paint on canvas, 175.6 x 175.6 cm. Tate © Bhupen Khakhar.
Whether depicting the pathos of everyday tradesmen, the union of same-sex lovers, or the embattled duality of a body riddled with cancer, the Indian artist’s wry humour combines with his vibrant palette to create compelling narrative paintings that speak to viewers across the globe.
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