Art

Martin Creed: Still an angry artist

The Turner Prize winner's new exhibition, which reflects his often angry reaction to politics, is set in the carefully manicured gallery Hauser and Wirth, in Somerset

Sharing bad tattoos with renowned artist Scott Campbell

For one of the most famous tattoo artists in the world (his ink adorns the skin of Robert Downey Jr., Courtney Love, Orlando Bloom, Marc Jacobs and more), Scott Campbell’s studio - just a couple of blocks from L.A.’s Skid Row - is pretty humble. It’s not all polished surfaces and expensive fittings, just simple concrete, scattered artworks and Jenga-like stacks of art books on Dada and Picabia. An artwork based on a crumpled dollar bill hangs on the wall and a dope plant sits by the window overlooking the industrial landscape of L.A.’s Arts District. Tattooing may be exploding on Instagram and attracting more and more celebrities, but for Scott it remains a resolutely blue collar practice.

Guillermo del Toro’s monster hoard: ‘I'm happy to see them every day'

The public will soon get their first glimpse of the Mexican fantasy maestro’s vast hoard of art, books and movie memorabilia at a new exhibition in LA. But, the director tells Tim Walker, sending his monstrous collection out into the world – if only temporarily – has been ‘absolutely horrible’

Iranian cartoonist opens up about her captivity

In her first interview to Western media since winning her release, Atena Farghadani talks about the horrific conditions behind bars in Iran and how she plans to continue producing political art, even if that means going to prison again

Samantha Morton interview

The actress has written a short film for new exhibition Daydreaming with Stanley Kubrick at Somerset House

  • Review

Georgia O'Keeffe, Tate Modern, review: 'an extraordinary show'

The major retrospective of Georgia O’Keeffe’s work that opened this week at Tate Modern in London is a rare opportunity for British viewers to engage with this revered American artist. In the same season as the opening of the Tate extension Switch House, this exhibition illuminates the gallery’s determination to provide new readings of old favourites. Curator Tanya Barson has spun a new tale of O’Keeffe, showing her as a progressive artist who was influenced by photography and not “merely an observational painter”. The inclusion of photography, while interesting, again shows a lack of confidence by the institution to let a singular medium prevail.