May the Force Be With You! Finally landed on Earth after a decade in the planning, untold hirings and firings, and endless revisions to the 100,000 square feet of show space, and more than 30 galleries holding more than 1,300 objects, George Lucas’s museum has opened to rapturous fans.
The internationally acclaimed artist talks about his current show in Venice, XIV Steps, a cycle of 14 paintings inspired by the Stations of the Cross and why, despite not being religious, he was moved to paint them.
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The first UK survey of the esteemed Polish sculptor twists and distorts architectural features into sombre monuments to lost eras.
Despite its darker undertones of climate change and capitalism, Clare Woods’s exhibition is a joyful explosion of nature, responding beautifully to the neoclassical architecture and the lush gardens of Sir John Soane’s country retreat.
To mark the 150th anniversary of Gwen John’s birth, this intimate and characterful exhibition more than celebrates her often veiled talent.
The Chilean artist talks about listening, stitching and her latest show, which combines photographs and works with thread.
The artist talks about the obtuse nature of sculpture, the value of a prolonged gaze, masculinity as a social and spatial concern, and the difference between material illusion and confusion.
On the advice of a tutor, Boulton dedicated her practice to looking at and producing floral still-lifes, and a decade later she is still going strong.
Plymouth’s The Box has been named 2026 Museum of the Year by the Art Fund. Pomery talks about what it means to win the UK’s most prestigious museum prize.
The artist talks about representing Ireland at this year’s Venice Biennale, her first major UK survey show in London, and being inspired by medieval printers, Greek philosophers, TV psychopaths and the bony knees and feet of ancient poets and priests.
Unsettling the dominant rhetoric around artificial intelligence and directing us instead towards the fertile ground of artificial introspection, this is a timely and welcome exhibition, of cultural importance beyond its deep connection to its location.
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What do spiders, dogs, hot-air balloons and lithium mining have in common? In Saraceno’s world, everything is connected, and this exhibition takes in his ongoing eco projects and a new collaboration with the Indigenous communities of Las Salinas Grandes in Argentina.
The scenography of this immersive show is spectacular, as the artist draws us into a mythical tale, but the narrative proved elusive.
This cornucopia of a show includes drawings, prints, watercolours and photographs from the 15th century to the present day.
The most famous British designer you have never heard of: Enid Marx is brought back into the well-deserved limelight.
Once again, this two-week festival has something for everyone. From a celebration of the centenary of the Caribbean artist Frank Walter to a survey of the work of documentary and portrait photographer Jillian Edelstein, here is a selection of some of the best it has to offer.
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The last of the great trilogy of female artists to have a retrospective at Tate Modern this summer – and by no means the least.
This show at Norway’s new grain silo turned modern art museum explores the influence of expressionism and surrealism on the leading Nordic painters of the 20th century.
It’s all go in Los Angeles. On the heels of LACMA’s stunning new Geffen wing comes Dataland, the world’s first museum dedicated to omni-sensory, AI-generated art, George Lucas’s Museum of Narrative Art, which will open in September, followed in November by the the overhauled Samuel Oschin Air and Space Centre where the mighty space shuttle Endeavour will be on show to the public.
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The shadows of Brexit, the Scottish independence debate and many current border conflicts loom large as 20 artists works explore the personal, cultural and political dimensions of borders.
Prevented by a mental health crisis from finishing her studies at the Royal Academy, she continued to make work, using it to bring attention to harmful practices in the psychiatric system.
Barbican’s latest exhibition is a treasure trove of work by African-descended artists, hamstrung by obtuse organisation.
Enjoying a double bill in Bath, Brown has playfully inserted a selection of his fantastical grotesques into the Holburne Museum’s collection of 18th-century portraits, while at No 1 Royal Crescent his grotto-like installation is ostentatious and enjoyably camp.
