The new Orange County Museum of Art has a stellar collection from California and a glitzy exterior to match
The Norwegian painter gets some overdue recognition at the Dulwich Picture Gallery
The sculptor Gertrude Hermes has often been overshadowed by her contemporaries, but the first major exhibition of her work in 30 years is a chance to see her more clearly
Great art, thoughtful curation and a snazzy café: Manchester’s £15 million redevelopment project is a great success
All three artists emerge as experts in self-branding. On the whole, I’m sold
Can treatment of flesh in sculpture only aspire to a condition of deadness?
The museum showcases some of its finest works in ‘The Art of Our Time’
The modernist designs at the V&A have an air of optimism about them, but we all know how the story ends
Immersive performance art and the Royal Academy Summer Exhibition? Surprisingly, it works…
The Kabakovs’ ‘Strange City’ at the Grand Palais isn’t completely alien
A small but ambitious exhibition of the British modernist’s varied work has opened in Oxfordshire
How do you like your Georgians? William Kent’s designs come with a liberal coating of gilt
The current Piranesi exhibition at Sir John Soane’s Museum raises interesting questions about original artworks and their reproductions
‘Art & Life’ is a touring exhibition, but Kettle’s Yard is clearly its spiritual home
The German and British Romantic landscapes at the Courtauld sing rather than shout of a new vision
‘A World of Private Mystery: John Craxton’ at the Fitzwilliam Museum celebrates the artist’s ‘unfashionably happy’ late paintings
‘White Light/White Heat’ at the Wallace Collection and London College of Fashion reflects on glass as a contemporary medium
‘Immersive’ artwork such as Elmgreen & Dragset’s ‘Tomorrow’ at the V&A is touted as the 21st century’s spin on a gesamtkunstwerk, but has the hyperreal already become familiar?
His work at the Royal Academy strives for poetic significance, but does Bill Woodrow offer anything new?
‘The Show is Over’ at Gagosian Gallery, where painting’s elaborate deferrals of its death-scene extend like a multi-volume suicide note
Alan Sorrell’s neo-Romantic work is an antidote to today’s conceptual art, and perfectly suited to Sir John Soane’s Museum
‘Paul Klee: Making Visible’ at Tate Modern is rigorous but incurably serious – is it the right setting for such complex and colourful work?