The most striking of these works are the ones that resist the temptation to represent, that refuse to be too literal about the littoral
Tuymans made his thoughts about Belgian copyright law known at his exhibition opening last week
It’s tempting to focus on the big loans, but the star of this particular show was in Washington all along
Female artists are well represented in this show; a deliberate strategy that prompts a more critical questioning of the genre
‘Surround Sounds’ is excellent, but not all of Marclay’s latest work lives up to the hype
A Cézanne that once belonged to Samuel Courtauld and one of Monet’s Venetian views come to the block in London this month
Are art schools in danger of turning into finishing schools for those who can afford them, or can they survive as places where students can experiment?
With so many archaeological and cultural sites at risk in war zones around the world, is enough being done to protect them?
David Ekserdjian discusses the recent announcement
Flesh and sex – the legacies of Rubens and Sade; two views of the 20th century’s torn and tattered art; and the story of Lancashire’s philanthropic industrialists
From biplanes to drones, we look at the impact of the aerial viewpoint on modern and contemporary art. Plus, our round-up of this month’s major acquisitions
New year, new acquistions: from Jérôme Bonaparte’s chandelier to an entire country cottage
It wasn’t just the Cubists who responded to the 20th century’s upheavals
Fragments from an exhibition of the 20th century’s fractured art
Lancashire collections in London
Some highlights from Two Temple Place’s latest collection of collections
Sponsorship, strikes and self-censorship in London’s top museums; the Smithsonian’s international expansion; Tutankhamun’s broken beard
Surveilling surveillance…
The wider significance of ‘Ponte City’
The Affichistes used throwaway materials but their legacy endures
A celebration of the tattered, torn and pioneering work of the Affichistes
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Editor’s Letter: The Art of Mystery
Though it may not be fashionable to say so, a feeling for mystery should be integral to how we look at art