Three Studies for Figures at the Base of a Crucifixion c.1944 by Francis Bacon, on display in Francis Bacon: Invisible Rooms from 18 May until 18 September 2016
©© Tate Liverpool, Roger Sinek

Francis Bacon/Maria Lassnig, Tate Liverpool

Double bill of painters is a stroke of curatorial inspiration

©Sitio Roberto Burle Marx

Modernist terrain: Roberto Burle Marx

A retrospective in New York celebrates the many talents of the Brazilian artist and landscape designer

The Art Market: bust-up with a hushed-up ending

Secret settlement in Picasso tussle; London photography sale results; new online domain for art; Constable ‘six-footer’ sketch up for auction

‘Transposition 7’ (2014)
©Barbara Kasten

Snapshot: ‘Transposition 7’, by Barbara Kasten

The Chicago-born artist has used constructed sets to dissolve the boundary between photography and sculpture

Where time slows down

The mission of those behind the 10,000-year clock? ‘To stretch out what people consider as now’

Olafur Eliasson’s ‘The Weather Project’ (2003)

How Tate Modern transformed the way we see art

Jackie Wullschlager on how one gallery redrew the history of art — and the rest followed

'Tea Pot Rock' (1870), by William Henry Jackson

Sight Reading, New York — ‘Amiably discursive’

A fascinatingly eclectic survey of photography

'Bristow' by Adel Abdessemed is a rooftop commission for this year's Bold Tendencies. Photo: Damian Griffiths
©Damian Griffiths

Peckham’s car-park arts hub works on so many levels

Bold Tendencies is making the most of its limited lifespan

Tate Modern’s new Switch House — review

Edwin Heathcote reviews Tate Modern’s £260m extension

‘The Wizard of Oz’ (1939)
©Jason Shulman

Snapshot: ‘Photographs of Films’ by Jason Shulman

The British artist uses a high-resolution monitor and slow camera exposure to capture feature-length films in a single image

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