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)
©Tate

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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