Tate britain

Virtuosic exploration of paint: Frank Bowling at Tate Britain reviewed

8 June 2019 9:00 am

‘The possibilities of paint,’ Frank Bowling has observed, ‘are endless.’ The superb career retrospective of his work at Tate Britain…

Back to the future: ‘The Asset Strippers’, by Mike Nelson

Powerful elegy for a world that is slipping away: Tate Britain’s The Asset Strippers reviewed

30 March 2019 9:00 am

There was a moment more than 20 years ago when Bankside Power Station was derelict but its transformation into Tate…

Apocalypse now: ‘Wood near My House, Somerset’, c.1991, by Don McCullin

Few soldiers have seen as many terrible sights as Don McCullin

23 February 2019 9:00 am

Diane Arbus saw mid-20th century New York as if she was in a waking dream. Or at least that is…

‘The Doom Fulfilled’, by Edward Burne-Jones, 1888

Like today’s conceptual artists, Burne-Jones was more interested in ideas than paint

10 November 2018 9:00 am

‘I want big things to do and vast spaces,’ Edward Burne-Jones wrote to his wife Georgiana in the 1870s. ‘And…

‘Prostitute and Disabled War Veteran. Two Victims of Capitalism’, 1923, by Otto Dix

Sorrow and pity are no guarantee of artistic success: Aftermath at Tate Britain reviewed

23 June 2018 9:00 am

Some disasters could not occur in this age of instant communication. The first world war is a case in point:…

‘Melanie and Me Swimming’, 1978–9, by Michael Andrews

Magnificent paintings – oddly curated: All Too Human reviewed

10 March 2018 9:00 am

In the mid-1940s, Frank Auerbach remarked, the arbiters of taste had decided what was going to happen in British art:…

London calling

28 October 2017 9:00 am

Madame Monet was bored. Wouldn’t you have been? Exiled to London in the bad, cold winter of 1870–71. In rented…

‘Untitled (Clear Torso)’, 1993, by Rachel Whiteread

Space odyssey

16 September 2017 9:00 am

Rachel Whiteread is an indefatigable explorer of internal space. By turning humble items such as hot-water bottles and sinks inside…

‘Merde d’Artiste’, 1961, by Piero Manzoni

In defence of conceptual art

16 April 2016 9:00 am

At the tail end of last year, an artist called Peter Goodfellow mounted an exhibition of paintings titled Treason of…

'Lion Hunt', 1861, by Eugène Delacroix

Galleries are getting bigger - but is there enough good art to put in them?

2 January 2016 9:00 am

Until a decade and a half ago, we had no national museum of modern art at all. Indeed, the stuff…

‘Lady at the Virginal with a Gentleman’ or ‘The Music Lesson’, 1662–5, by Vermeer

Artistic taste is inversely proportional to political nous

28 November 2015 9:00 am

‘Wherever the British settle, wherever they colonize,’ observed the painter Benjamin Robert Haydon, ‘they carry and will ever carry trial…

‘Sculpture with Colour (Deep Blue and Red) [6]’, 1943, by Barbara Hepworth

Was Barbara Hepworth a giant of modern sculpture - or a dreary relic of post-war Britain?

27 June 2015 9:00 am

In the last two decades of her life, Barbara Hepworth was a big figure in the world of art. A…

The Heckler: Tate Britain is a mess. Its director Penelope Curtis must go

7 March 2015 9:00 am

Things have not been happy at Tate Britain for some time. Last year Waldemar Januszczak wrote an article culminating with…

‘The Great Elm at Lacock’, 1843–45, by William Henry Fox Talbot

Sculpture Victorious at Tate Britain reviewed: entertainingly barmy

28 February 2015 9:00 am

In the centre of the new exhibition Sculpture Victorious at Tate Britain there is a huge white elephant. The beast…

‘Woman at Her Toilette’, 1875/80, by Berthe Morisot

2015 in exhibitions - painting still rules

3 January 2015 9:00 am

The New Year is a time for reflections as well as resolutions. So here is one of mine. In the…

‘Winter Landscape (Winterlandschaft)’, 1970, by Anselm Kiefer

All my doubts about Anselm Kiefer are blown away by his Royal Academy show

11 October 2014 9:00 am

In the Royal Academy’s courtyard are two large glass cases or vitrines containing model submarines. In one the sea has…

‘Goose Woman’, c.1840, by George Smart

Why did it take so long to recognise the worth of British folk art?

2 August 2014 9:00 am

British folk art has been shamefully neglected in the land of its origin, as if the popular handiwork of past…

‘Coventry Cathedral’, 1940, by John Piper

Kenneth Clark wasn’t happy simply popularising art, he liked to collect it and shape it too

7 June 2014 9:00 am

Earlier this year, I sat down and watched Kenneth Clark’s groundbreaking TV series Civilisation. I vaguely remember when it was…

'Fold’, 2012, by Richard Deacon

Richard Deacon – from Meccano into art

15 March 2014 9:00 am

When I visited the Richard Deacon exhibition at Tate Millbank, there were quite a lot of single men of a…

‘Untitled’, 2012, by Simon Ling

Painting Now doesn't represent painting now. Thank goodness

25 January 2014 9:00 am

The death of painting has been so often foretold — almost as frequently as its renaissance — that any such…

Unmissable: ‘The Horse, the Rider and the Clown’, 1943–4, by Matisse will go on show at Tate Modern in April

Art shows you simply mustn't miss in 2014

11 January 2014 9:00 am

One of the great treats of the exhibiting year will undoubtedly be Henri Matisse: The Cut-Outs (17 April to 7…

Modernist Marxists skew the Lowry exhibition

27 July 2013 9:00 am

There has been much positive comment about the rehang of the Tate’s permanent collection, which sees a welcome return to…