Rist's work is overtly sensual, and places the visitor's own body at its centre
Today's museums work hard to develop interactive, immersive and sensory displays: but Moholy-Nagy got there first
Now is the time to see some of the most spectacular tapestries around
All three artists emerge as experts in self-branding. On the whole, I'm sold
Moroni's self-conscious sitters; Warhol's ephemera; and Sugimoto's deceptive diaoramas
Last week brought two shows to London that claim to present the scope of new contemporary art being made in two overlapping locations: the UK and its capital. The first – ‘Bloomberg New Contemporaries’ at the ICA (until 25 January 2015) – is a large, rambling exhibition spread over two floors of Carlton House Terrace […]
Can treatment of flesh in sculpture only aspire to a condition of deadness?
Sugimoto's photographs of museum dioramas draws attention to the deceptive potential of photography and art
Art education has come a long way since the 1950s. Is the Basic Design 'revolution' a little dated?
A small but powerful collection of Nevinson's visions of war
Warhol not only made art about mass consumption, he made art for mass consumption too
Moroni is a master of fine fabrics and awkward expressions
Paul Nash's watercolours; Manet and contemporary art; photographers' contact sheets; and Beatrice Gibson's disorderly films
Gibson's disorderly video picks up and plays with William Gaddis’s biting satire of a book, 'JR'
It's riveting to see the choices and accidents that produced some of history's most iconic photographs
For the first time, the permanent collection at Leighton House is being cleared for a display of Victorian art
A little known 19th-century Norwegian painter is being touted as a 'forerunner of modernism'
Manet's 'Execution of Maximilian' is lost in the midst of so much contemporary art
Piano Nobile's show introduces the 'war artist's peacetime work
Mannequins in the Fitzwilliam Museum; Cubism at the Met; chickens in the crypt
One participating artist will win the Artes Mundi Prize, but this year the focus is on the exhibition as a whole
Can art keep up with the digital revolution? Or is a show like the Hayward's still a bit of a gimmick?
In 1959 a flash of activity illuminated Milan’s already vibrant artistic scene
Eighty-one extraordinary works by Picasso, Braque, Gris and Léger are now on show
