Why is Dante the Florentine still present with us 700 years after his death?
What do Emin and Munch have in common other than a burning desire to embrace, and be defined by, the miseries of life?
Looking at Yiadom-Boakye’s portraits is an act of slow discovery, the unveiling of a mystery.
In “Shaping the World: Sculpture from Prehistory to Now,” the issue crying out to be addressed is: where will sculpture go next?
A show at Tate Britain underscores Turner as the great recorder of elemental disorder and industrial pollution on the grand scale.
Abstractions, illusions, DIY concoctions, museums touting their collections, and other holiday confections.
Wallis tore up the rule book and pointed a way forward for British painting.
It is neither easy nor especially relaxing to spend time with Nauman.
Howard Hodgkin: Memories — the first show of any importance since the artist’s death — seems to open him up as never before.
The art of the collagiste is essentially the art of the scavenger, the opportunistic thief.
What will she make of the fabled greatness of the English past?
Georg Baselitz reflects on his own aging hands through the prism of all the art he has seen.