Richard Patterson, Christina with green necklace, 2000
Oil on canvas, 36 3/4 x 36 3/4 in. / 93.2 x 93.2 cm

Art review: Richard Patterson, Timothy Taylor Gallery, London

This survey of YBA Richard Patterson’s career so far is bold, sensuous, and feels fresh rather than old hat recycled from the Freeze/Sensation years.

Natural-born talent: Andy Goldsworthy’s Forked Twigs in Water-Bentham (1979

Charles Darwent on Uncommon Ground, Land Art in Britain: It may not be big, but it is clever

British land art used to be depressingly small-scale – but this excellent exhibition breaks new ground

Venus, Flora, Mars and Cupid (Allegory) by Paris Bordone

Art review: Sir Robert Walpole collection, Houghton Hall, Norfolk

This is a story about making amends for cultural asset-stripping in the grand style. A little over three hundred years ago, the debt-ridden grandson of Sir Robert Walpole, England's first Prime Minister, sold off to Catherine the Great of Russia the great art collection amassed by his grandfather.

Gavin Turk is up to old tricks

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Gavin Turk made his name as Britart's chief prankster. But at a retrospective of his 20-year career, Michael Glover finds him recycling the same joke once too often

Empty vessel: Ellen Gallagher’s Bird in Hand 2006 features a figure, Pegleg, who mutates into a pirate

Charles Darwent on Ellen Gallagher: AxME - The dog ate my homework, Miss Gallagher

Why does this highly-rated American artist ask so much of us before we even look at her work?

Visitors look at

Art review: Birth of a Museum, Manarat al-Saadiyat, Abu Dhabi

Stalled by downturns, delays and even the threat of a boycott by artists over the conditions of the building workers, Abu Dhabi’s masterplan to convert a vast sandy swathe of Saadiyat Island into a world-beating “cultural quarter” has sometimes looked like a desert mirage.

New Order: British Art Today/Gaiety Is the Most Outstanding Feature of the Soviet Union, Saatchi Gallery, London SW3 (saatchi-gallery.co.uk) to 9 June

New Order: British Art Today, at the Saatchi Gallery: this new order is far from sensational

The best that can be said for the works by young UK-based artists in a show at the Saatchi Gallery is that they're proficient. Adrian Hamilton misses the passion and provocation that the original YBAs inspired

On the move: Calder’s mobiles have slender elements but suggest a bigger space

Charles Darwent on Alexander Calder: The man who put the 'post' into modern

The art world grew smaller the day Calder first popped his sculptures in the post

Artwork from the Brain Activity by David Shrigley at Hayward Gallery

Michael Glover: Let’s hope the Turner Prize judges can stop giggling

Shall we agree to agree that art’s pretty lightweight when all’s said and done? That it’s jokey fluff and flummery for the most part? Life’s certainly a fun house over at the Turner Prize this year.

John M Armleder, Convallaria Majalis (triptych), 2003, Mixed media on canvas, 240 x 180 cm

Art review: Quicksand John Armleder, The Dairy Art Centre, London

This week a new art centre opens in north London in the premises of a former dairy in Bloomsbury. Two collectors of contemporary art, Frank Cohen, a home-improvements' millionaire from Manchester, and Nicolai Frahm, a Dane based in London, have brought it into being. Free to enter and not-for-profit, it will operate as a kind of kunsthalle for shows of emerging and established artists.

Mum’s the word: Takako Shibata’s ‘Mother’ (1996-2001)

Beautiful minds: Outsider art at the Wellcome Collection

The first major exhibition of Japanese Outsider art in the UK brings together 46 artists who live on the margins of society. It's remarkable, says Adrian Hamilton

Charles Darwent on art: Saloua Raouda Choucair - An eye on the future, a feeling for the past

Influenced by Matisse and Léger, inspired by science, maths and architecture, an enduring Lebanese artist gets her deserved retrospective

Madonna and Child, 2011 by Celia Paul

Art review: Celia Paul: Recent Work and Separation, Marlborough Fine Art, London

Celia Paul is the least noisy portrait painter in oils imaginable. Her subjects - which usually tend to be relatives, close friends or herself - exist within a kind of religiose hush of rapt self-absorption.

Floral tribute: Still Life #2, the ‘deeply un-avant garde’ work of Paul Nash in 1927 appealed to an English audience

Charles Darwent on art: Paul Nash, The Clare Neilson Gift - A modernist moment in the sun, and retreat to the shade

Like many British artists, Paul Nash was drawn to Paris but felt impelled to play safe at home

Light box: The new atrium opens up and illuminates the Rijksmuseum

Charles Darwent on the Rijksmuseum reopening: At last, the Dutch really do go Dutch

There's a very national flavour to the triumphant and long overdue relaunch of Holland's great museum. Just watch out for the bikes ....

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