Driving force: John Chamberlain’s use of old car parts has been a big influence on others

John Chamberlain, Inverleith House, review: The man who mashed bangers to great effect

Chamberlain is an artist’s artist, clearly influential on contemporaries who take materials to transform into unrecognisable new constructions

Review: Richard Long: Time and Space, Arnolfini Gallery, Bristol

Travelling man is going round in circles

‘Living: There’s no reason to sleep curled up…’, (2006) (Ken Adlard)

Jenny Holzer: Softer Targets at Hauser & Wirth, Somerset, review: Combining bones, CIA reports and torture diaries in a peaceful setting

After seeing Holzer’s work, you can wander through the undulating flowerbeds outside - but it’s difficult to get those images out of your mind

In ruins: Thomas Hirschhorn’s ‘In-Between’ has just opened at the South London Gallery in Peckham

In-Between: A disaster zone in London strikes poetic notes after concerning itself with doom

Thomas Hirschhorns' work's initial element of surprise wears off

Matan Ben Cnaan’s winning entry, ‘Annabelle and Guy’

BP Portrait Award: How today's painters concentrate on depicting loved ones rather than famous faces

My one quibble is that despite its insistence on quality the award continues to brand itself with BP

Howard Morgan in his studio, with his official painting for the 200th anniversary of the battle of Waterloo

Battle of Waterloo: Howard Morgan's portrait of the historic event glows with detail

It’s Waterloo, blood, guts and all – but Wellington is nowhere to be seen, writes Jim Armitage

Holler's 'Flying Mushrooms', on display at the Hayward gallery

Carsten Höller, Decision: At his best he channels Willy Wonka, but the spectacle becomes boring

Höller's work illustrates how quieter pieces can actually be more powerful

View of the Royal Academy of Art’s Central Hall

The Summer Exhibition, Royal Academy of Arts, review: Has 'co-ordinator' Michael Craig-Martin made it a coherent show?

Perhaps next year the summer show should be split into three shows, instead of trying to cram it all into one exhibition

David Hockney:

David Hockney's Painting and Photography at Annely Juda Fine Art, review: An unfortunately banal exhibition

What is striking about the representations of people in this exhibition is the fact that they evoke nothing in particular

Sonia Delaunay early in her career

The EY Exhibition: Sonia Delaunay, Tate Modern, review: Blockbuster puts a pioneer back in the picture

The gallery is finally recognising women's role in contemporary art

Tracey Emin visits her 1990s work ‘My Bed’ at Tate Britain in London, where it is back on display from today

Tracey Emin's My Bed at Tate Britain, review: In the flesh, its frankness is still arresting

Much ink has been spilled on it, but as one of the defining images of the 1990s it still remains remarkably fresh

Baltic - Jason Rhoades: Four Roads

Jason Rhoades: The anarchic work of a man who's still inspiring long after death

Watching children being ushered around the Tyneside exhibition, I hope some of his irreverent approach to art inspires some of them to 'make art not war'

Ephrem Solomon - Untitled

Pangaea II: New Art from Africa and Latin America at the Saatchi Gallery, review: Two continents that deserve better

Africa and Latin America have rich visual traditions, but the mostly bland and repetitive works in the Saatchi Gallery’s show of new art are underwhelming

Artist Daphne Guinness

Food for thought: Daphne Guinness

She shares her week in culture...

'Great Britain' by Marlene Dumas (1995-1997)

Marlene Dumas at the Tate Modern: Sex, social inequality and human spirit explored superbly

It's a fitting tribute to the world's most expensive female artist

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