What do Emin and Munch have in common other than a burning desire to embrace, and be defined by, the miseries of life?
The protest balloon, which depicts the outgoing US president as a disgruntled infant, has toured the world since it was unveiled in 2018.
Mary Weatherford’s new paintings confront us with a sense of place, a remembered moment, a hidden story.
Looking at Yiadom-Boakye’s portraits is an act of slow discovery, the unveiling of a mystery.
Tu Hongtao’s paintings revisit the traditions of Chinese painting while evading the perils of oversimplification and stagnation.
May we all be as merry as that boozy child.
Serpentine Galleries’ “Future Art Ecosystems” emerges as an odd but occasionally insightful case study of the impact of the broader institutional shift to the digital realm.
Cosmic Dancer casts Clark as an artist who refuses to be pinned down by a single discipline or style, though its kaleidoscopic approach occasionally loses sight of Clark himself.
“Empire and Collecting,” a new self-guided tour, reflects an attempt to help visitors understand the colonial origins of the collection.
Unveiled just ahead of the holiday, Chila Kumari Singh Burman’s installation is sure to leave Londoners with a sense of warmth and light amid the gloomy winter months.
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.