Frida Kahlo in the garden; highlights from Art Basel; sculpture in Oslo; and Dan Holdsworth's dizzying photographs
The scientific made spiritual
Changing Norwegian attitudes to privately-funded art
Corin Sworn has filled the space with costumes and props inspired by the Italian Commedia dell'Arte
Everything in Struth’s shots seems to have taken on a level of aggression
Michael Craig-Martin has brightened up the RA Summer Exhibition a bit, but Agnes Martin is truly unmissable at the Tate
She was a colourful character...
In search of sculptures on London's latest art trail; James Turrell heads for Norfolk; transforming Met and the V&A with film
Theatrics at the Met and the V&A
The Line is a great concept, but it's not without teething problems
Helen Mirren stars as Maria Altmann, an émigré Austrian Jew battling to have a painting returned to her after its theft by the Nazis
Grayson Perry takes the stage at Turner Contemporary; the Latona Fountain flashes into life at Versailles; and we take a sneak peek at some treasures of 'Gold and Ivory'
For once, the influential artist's work is left to speak for itself
Is London's attention shifting away from Italian art?
Beautiful example of medieval painting, sculpture and decorative arts on show at the Louvre-Lens Museum
Homages to plaster casts and Portland stone; Chris Burden's wonderful final work; plus, 'has David Hockney been at the ketamine?'
Words and writing were as much a part of Basquiat's art as his visual imagery
Reynolds may have fallen out of fashion, but a recent conference suggests there's more to his works than meets the eye
Barbara Hepworth once called plaster 'a dead material'. She was wrong
Palmer's project for Artangel looks at the negative space left by some of the world's great monuments
Hockney's psychedelic new creations at Annely Juda; Thomas Struth's exceptional photographs at Marian Goodman; and Andre Kertesz at James Hyman
The hidden David Parr House in Cambridge; the Waddesdon Bequest; and the verdict from Venice
What have the Baltic nations contributed to the Venice Biennale?
A joyless preference for the verbal over the visual at the Venice Biennale
