Reviews
Is it time for the Turner Prize to break out of the Tate?
It’s a mixed bag this year, with Anthea Hamilton coming out on top. But whatever you make of the work, Tate is no longer the place to show it
A.S. Byatt on Morris and Fortuny follows all too familiar patterns
The novelist’s account of the two artists contributes little to discussion of their achievements
How Daubigny inspired Impressionism
A modest exhibition at the Scottish National Gallery makes clear the big impact Daubigny had on modern art
There will always be a place for art books – in fact, they’re essential
Phaidon is revisiting its pioneering artists’ monographs with a series of ‘Classics’ that reaffirms the importance of art publishing, and how it’s changed
Surrealism, sex, and sound business sense – why Roland Penrose is a paradox
James King’s biography of the artist is illuminating, but tends to overstate the link between Penrose’s Surrealist art and his surreal personal life
Saint Augustine, Napoleon, the Funny Guy: the many faces of Francis Picabia
Picabia seemed to sense the edginess of every decade in which he lived – and reinvented his art to reflect it
Rachel Whiteread takes to the hills on Governors Island
Bit by bit, the former military site in New York Harbor is being transformed into a cultural destination
The artist proving that beauty is on the inside – literally
Elpida Hadzi-Vasileva has used animal fat, intestines, and testicles in her work – not to shock, but to reveal the beauty in things that would normally disgust us
A frightening take on the War on Terror at the IWM
Edmund Clark’s eye-opening exhibition will make you think again about the impact and ethics of counter-terrorism and state control
It’s about time Winifred Knights got some attention
The Dulwich Picture Gallery finally spotlights this British modernist, whose work owes much to Renaissance traditions
The Museo Espacio makes a splash in Aguascalientes
But Mexico’s new museum will need to demonstrate greater curatorial independence if it’s to flourish in the long-term
Save our museums!
Public collections need eloquent and passionate defenders if they are to thrive in today’s tough climate
The very best of Chinese imperial art comes to San Francisco
It’s been 20 years since Taipei’s National Palace Museum loaned works to the US – now’s the chance to see their Chinese treasures
Men’s fashion choices, from Yankee Doodle to Marlon Brando
LACMA takes a look at the last 300 years of menswear in ‘Reigning Men’, but fails to address some key issues clearly enough
C.F.A. Voysey’s designs reveal his ‘puritanical love of simplicity’
Voysey’s designs were as pioneering as his architecture
Is this exhibition Stanley Kubrick’s worst nightmare?
Kubrick took an ‘infinite amount of care’ over his films. The same can’t be said for this chaotic exhibition
Quite mad and a little indecent’ – the complete works of Aubrey Beardsley
The first catalogue raisonné of Aubrey Beardsley’s works is a triumph – and a treat to pore through
Has Jeremy Paxman made the most sensational Van Gogh documentary ever?
The presenter’s hunt for Van Gogh’s missing ear has been packaged like a thriller
How photography and painting focused the Victorian mind
An exhibition at Tate Britain makes forceful claims for the imaginative use of memory in both art and photography
Utopian dreams: Imagining what utopia might mean today
A year-long collaborative project at Somerset House celebrates the 500th anniversary of Thomas More’s famous work
Michel Houellebecq’s new exhibition is extremely terrible and utterly compelling
The writer has deployed the deadpan satirical streak that runs through his novels to defy the rules of contemporary art
‘I buy! I buy! I can’t stop myself’: Artists as collectors at the National Gallery
Artist collectors, it emerges, are driven by a mix of motives from compulsion to emulation
Fighting for the beauty of the British landscape
The former director-general of the National Trust has written a spirited defence of Britain’s rural areas
David Hockney and Alex Katz: two great colourists on top form
Neither painter seems afraid of trying new things in their respective shows at the Royal Academy and Serpentine Gallery
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What happens when an artist wants to be anonymous?