In Space Popular’s presentation at the Sir John Soane’s Museum the VR content does not complement the physical, but widens the gulf between art history and contemporary art making.
The interplay between bodies and emotions in Goring’s work, and their potential to be transformative, reveals the politics that pump through the artist’s ever-exposed heart.
Can two paintings an entire exhibition make? Yes. Especially when it is a Spaniard called Pablo Picasso squaring up to a Frenchman called Jean Auguste Dominique Ingres.
The Manchester-based artist uses techniques from the Northern Renaissance in an attempt to investigate our present-day celebrity worship.
The realities of women’s lives are conspicuously absent from the British Museum’s Feminine Power, a show about the feminine.
Whether in a 17th-century mansion, an imagined Georgian bedroom, or a contemporary loft, the unconscious experience remains unadulterated.
The exhibition Reframed: The Woman in the Window explores the acts of looking and being looked at, framing, and art making.
The settlement comes after Tate prevented an artist who exposed sexual harassment by one of its largest donors from co-curating an exhibition.
A Thing for the Mind takes Philip Guston’s 1978 painting “Story” as a starting point to examine the myriad ways in which this piece has filtered into the work of other painters.
A floating art project can’t reach Documenta because the Weser River is too low and museums in the UK shutter galleries to keep workers and collections cool.
The Renaissance master was boundlessly ambitious and intimidatingly energetic, charming, good-looking, diplomatic, and utterly opportunistic.
In finding new ways to read and map landscapes, Tanoa Sasraku disrupts our expectations of the rural and opens up latent memories, mythologies, and energies.