tue 21/10/2025

Visual Arts reviews, news & interviews

'We are bowled over!' Thank you for your messages of love and support

Tom Birchenough

We are bowled over! 

Gilbert & George, 21st Century Pictures, Hayward Gallery review - brash, bright and not so beautiful

Sarah Kent

There was a time when Gilbert & George made provocative pictures that probed the body politic for sore points that others preferred to ignore. Trawling the streets of East London, where they’ve lived since the 1960s, the artist duo chronicled the poverty and squalor of their neighbourhood in large photographic panels that feature the angry, the debased and the destitute.

Lee Miller, Tate Britain review - an...

Sarah Kent

Tate Britain’s Lee Miller retrospective begins with a soft focus picture of her by New York photographer Arnold Genthe dated 1927, when she was...

Kerry James Marshall: The Histories, Royal...

Sarah Kent

This must be the first time a black artist has been honoured with a retrospective that fills the main galleries of the Royal Academy. Celebrating...

Folkestone Triennial 2025 - landscape, seascape,...

Mark Sheerin

A rare cloud form envelopes the headland and to the east and the west Folkestone is cut off from the known world. This mist shortens the visual range...

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Sir Brian Clarke (1953-2025) - a personal tribute

Mark Kidel

Remembering an artist with a gift for the transcendent

Emily Kam Kngwarray, Tate Modern review - glimpses of another world

Sarah Kent

Pictures that are an affirmation of belonging

Kiefer / Van Gogh, Royal Academy review - a pairing of opposites

Sarah Kent

Small scale intensity meets large scale melodrama

Jenny Saville: The Anatomy of Painting, National Portrait Gallery review - a protégé losing her way

Sarah Kent

A brilliant painter in search of a worthwhile subject

Abstract Erotic, Courtauld Gallery review - sculpture that is sensuous, funny and subversive

Sarah Kent

Testing the boundaries of good taste, and winning

Edward Burra, Tate Britain review - watercolour made mainstream

Sarah Kent

Social satire with a nasty bite

Ithell Colquhoun, Tate Britain review - revelations of a weird and wonderful world

Sarah Kent

Emanations from the unconscious

Rachel Jones: Gated Canyons, Dulwich Picture Gallery review - teeth with a real bite

Sarah Kent

Mouths have never looked so good

Yoshitomo Nara, Hayward Gallery review - sickeningly cute kids

Sarah Kent

How to make millions out of kitsch

Hamad Butt: Apprehensions, Whitechapel Gallery review - cool, calm and potentially lethal

Sarah Kent

The YBA who didn’t have time to become a household name

Bradford City of Culture 2025 review - new magic conjured from past glories

Mark Sheerin

City, mill and moor inspire the city's visual arts offering

Bogancloch review - every frame a work of art

Sarah Kent

Living off grid might be the meaning of happiness

Do Ho Suh: Walk the House, Tate Modern review - memories are made of this

Sarah Kent

Home sweet home preserved as exquisite replicas

Ed Atkins, Tate Britain review - hiding behind computer generated doppelgängers

Sarah Kent

Emotions too raw to explore

Echoes: Stone Circles, Community and Heritage, Stonehenge Visitor Centre review - young photographers explore ancient resonances

Mark Sheerin

The ancient monument opens its first exhibition of new photography

Hylozoic/Desires: Salt Cosmologies, Somerset House and The Hedge of Halomancy, Tate Britain review - the power of white powder

Sarah Kent

A strong message diluted by space and time

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Mickalene Thomas, All About Love, Hayward Gallery review - all that glitters

Sarah Kent

The shock of the glue: rhinestones to the ready

Interview: Polar photographer Sebastian Copeland talks about the dramatic changes in the Arctic

Rachel Halliburton

An ominous shift has come with dark patches appearing on the Greenland ice sheet

Donald Rodney: Visceral Canker, Whitechapel Gallery review - absence made powerfully present

Sarah Kent

Illness as a drive to creativity

Noah Davis, Barbican review - the ordinary made strangely compelling

Sarah Kent

A voice from the margins

Best of 2024: Visual Arts

Sarah Kent

A great year for women artists

Electric Dreams: Art and Technology Before the Internet, Tate Modern review - an exhaustive and exhausting show

Sarah Kent

Flashing lights, beeps and buzzes are diverting, but quickly pall

ARK: United States V by Laurie Anderson, Aviva Studios, Manchester review - a vessel for the thoughts and imaginings of a lifetime

Sarah Kent

Despite anticipating disaster, this mesmerising voyage is full of hope

Footnote: A brief history of british art

The National Gallery, the British Museum, Tate Modern, the Victoria & Albert Museum, the Royal Collection - Britain's art galleries and museums are world-renowned, not only for the finest of British visual arts but core collections of antiquities and artworks from great world civilisations.

Holbein_Ambasssadors_1533The glory of British medieval art lay first in her magnificent cathedrals and manuscripts, but kings, aristocrats, scientists and explorers became the vital forces in British art, commissioning Holbein or Gainsborough portraits, founding museums of science or photography, or building palatial country mansions where architecture, craft and art united in a luxuriously cultured way of life (pictured, Holbein's The Ambassadors, 1533 © National Gallery). A rich physician Sir Hans Sloane launched the British Museum with his collection in 1753, and private collections were the basis in the 19th century for the National Gallery, the V&A, the National Portrait Gallery, the original Tate gallery and the Wallace Collections.

British art tendencies have long passionately divided between romantic abstraction and a deep-rooted love of narrative and reality. While 19th-century movements such as the Pre-Raphaelite painters and Victorian Gothic architects paid homage to decorative medieval traditions, individualists such as George Stubbs, William Hogarth, John Constable, J M W Turner and William Blake were radicals in their time.

In the 20th century sculptors Barbara Hepworth and Henry Moore, painters Francis Bacon and Lucian Freud, architects Zaha Hadid and Richard Rogers embody the contrasts between fantasy and observation. More recently another key patron, Charles Saatchi, championed the sensational Britart conceptual art explosion, typified by Damien Hirst and Tracey Emin. The Arts Desk reviews all the major exhibitions of art and photography as well as interviewing leading creative figures in depth about their careers and working practices. Our writers include Fisun Guner, Judith Flanders, Sarah Kent, Mark Hudson, Sue Steward and Josh Spero.

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