Jules de Balincourt: Itinerant Ones
Balincourt’s exhibition is titled - after one of the paintings in this show - Itinerant Ones....
Klara Lidén: The Myth of Progress
Within the myriad forms of political art, it is possible to discern two primary strands. The first i...
Kentridge: Where Are We and How Did We Get Here?
William Kentridge’s new installation, The Refusal of Time, bewilders this unprepared viewer: I fin...
Using a carefully balanced combination of PVA glue and acrylic paints – the precise measures of wh...
Léger: Modern Art and the Metropolis
Two grey figures walk down a set of stairs surrounded by a mass of buildings, fragments of advertise...
At the opening of Kara Walker's first UK exhibition, we spoke to her about her work, which is a dark...
Li Songsong: We Have Betrayed the Revolution
Li Songsong’s paintings are imposing, strong and abstract, yet they are also images of group portr...
Jill Spalding talks to American sculptor Alice Aycock
Though best known for her elaborate constructions in wood and metal, Alice Aycock is collected as wi...
Janet Cardiff’s Sound Sculpture
The Forty Part Motet, a sound installation by Canadian artist Janet Cardiff, is not so much a sight ...
Le Corbusier: An Atlas Of Modern Landscapes
The current exhibition at the Museum of Modern Art, New York, curated by Cohen and Barry Bergdoll, m...
Most recently the architect Kengo Kuma from Japan has been commissioned by the Victoria & Albert Mus...
It is a fine New York moment for California. For no reason that art-worlders can explain, six of Los...
For many people, viewing “Extremist Art: Expression of the Death Penalty,” a gathering of some 3...
Liane Lang’s works combine a mixture of photography and grotesquely lifelike silicon and rubber sc...
Marlborough Fine Art, London, 6 March–5 April 2013. This new retrospective show of the work of Joe...
The Whitney Museum should set up a food cart and a postcard stand for the people who are streaming i...
Lichtenstein: A Retrospective, Tate Modern, London, 21 February – 27 May 2013. Coming on to the ar...
Lynn Chadwick CBE: Pyramids, Split Forms and Beasts
Two new exhibitions of Lynn Chadwick in London simply confirm the status and importance of one of Br...
Questions of whether one perceives light, or the object generating light, or whether light is just t...
John Bellany: A Passion For Life
A 70th birthday exhibition in the National Gallery of an artist’s homeland holds a special categor...
Luc Tuymans: Allo! David Zwirner’s new London space
What better way to inaugurate American gallerist David Zwirner’s new London space (his first Europ...
Lindsay Seers. Nowhere Less Now
The Tin Tabernacle, Kilburn, London, until 21 October 2012. Born in Mauritius into a naval family, t...
Klimt: Up Close And Personal: Paintings, Letters, Insights. Leopold Museum...
The 150th anniversary of the birth of the Austrian artist Gustav Klimt was the subject both of the e...
La Tendenza: Italian Architecture 1965–1985
Using a selection of major works from their permanent collection as well as more than 250 other draw...
Leckhampton Prairie Garden: a Garden for Today
Leckhampton House is once again the scene of a pioneering venture. Fifty years after it became home ...
Ken Done - Attack: Japanese Midget Submarines In Sydney Harbour
Seventy years ago, on the night of 31 May 1942, three Japanese midget submarines entered Sydney Harb...
Luca Signorelli: ingenuity and pilgrim spirit
Mind your lessons, little Kinsman’, that is the advice the eight-year-old Giorgio Vasari received ...
Jenny Holzer: Sophisticated Devices
“When you’ve been someplace for awhile you acquire the ability to be practically invisible. This...
Walking into the Lisson Gallery on one of the hottest days of the year, I already feel as if I am me...
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