Eliasson’s new installation at the Louisiana Museum of Modern Art lets a river overrun the gallery
What’s behind the enduring appeal of geometry in modern art?
A new display of art from Captain Cook’s voyages is compelling, but doesn’t quite tell the whole story
How does an art scene evolve if its founding location becomes a war zone?
Perspectives on war: Marsden Hartley’s paintings from Berlin in WWI; and Mark Neville’s photographs and films from Helmand Province, Afghanistan
A new exhibition at Stanford University looks at the changing face of the devil in art
Satan, sin and the underworld…selected highlights
Are art installations the new video games? Are adverts the new art installations? News and comment from the Muse Room…
Ronay’s paintings and drawings from interwar Vienna build up a revealing portrait of a pleasure-seeking city
The Scottish National War Memorial, which stands within the walls of Edinburgh Castle, was built to commemorate the dead of the Great War
The characters in Walker’s works are caught in moments of enigmatic significance, at once inconsequential and charged with possible implication
Which curators, writers, academics and educators are steering public opinion about art?
Ukraine museums move to protect their collections; auction houses move online; and robots move in to the Tate
Playful, interactive, digitally-enhanced: is art straying closer to the video game than ever before?
Seven artists over eight decades who have explored the body as a fetishised, provocative object
It’s thought it could have links with Alexander the Great, and items have been found previously nearby
Mark Neville’s films and photographs from Afghanistan reveal the strange banality of war
For centuries, painters have experimented with the landscape. Where will today’s artists venture next?
Cosy, co-dependent, sometimes antagonistic: the relationship between art and advertising is a complicated affair
Tate Britain’s ‘Kenneth Clark’ and ‘Folk Art’ shows looked at, and outside, the art-historical canon
Winslow Homer’s ‘Milking Time’ and Alexander Calder’s ‘The Black Crescent’ are next up
A look back at last week’s light-based commissions marking the outbreak of the First World War
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‘This is not America’. Alfredo Jaar interrupts the adverts in Times Square
Jarr’s restaged message to ‘America’ feels as as relevant as ever