Bob Dylan's gates are welded out of vintage iron and metal parts

Bob Dylan Mood Swings exhibition: review - Iron gates 'are inoffensive and need some bite'

Bob Dylan's new iron sculpture exhibition is lacking dynamism, but the musician proves himself to be a talented polymath rather than a hobbyist

‘Saying Farewell at Hsun-yang’ by Qiu Ying

Unscrolling the masterpieces that were made in China at the V&A

The UK's first major exhibition of Chinese paintings since 1935 reveals that far from being monolithic, the art of the country is highly individualistic, propelled by artists with their own distinctive styles

James Balmforth's

Art review: Open Heart Surgery, The Moving Museum, London

The title of this exhibition refers not to a theme of blood-thirsty conceptualism, but the intimate, delicate nature of the artworks included. Art is indeed a painful process, involving much inner probing.

'Untitled, 2010' by Louse Bourgeois, an artwork in her exhibition at the Scottish National Gallery of Modern Art

Art review: Louise Bourgeois - A Woman Without Secrets

French-born New Yorker Louise Bourgeois (1911-2010) is perhaps the greatest female artist of the 20th century. She is also one of the greatest artists full-stop, but her work is powerful because it expresses the hunger and ferociousness of a particularly female kind of experience.

'Seated Male, holding left knee, left profile', by CJ Natoire

Art review: The Male Nude, The Wallace Collection, London

The male nudes in the Wallace Collection’s new exhibition display  a painstaking proficiency, but they’re unlikely to arouse much passion, says Adrian Hamilton

A woman looks at Cupola by Victor Sydorenko at the preview of the new Contemporary Ukrainian Artists exhibition

Art review: Contemporary Ukrainian Artists, Saatchi Gallery, London

What does Ukrainian art bring to mind? Walking around this exhibition of miscellaneous contemporary artists, two themes are noticeable: first, the image of people watching disaster unfold, impassive. Second, the image of muscular bodies falling gracefully through space.

‘The Last of Old Westminster’ (1862)

The river runs deep: Whistler in London

A new exhibition of Whistler’s etchings and paintings of the Thames displays his extraordinary talent for capturing the atmosphere and bustle of life in 19th-century London, says Adrian Hamilton

Review: Paul Klee, Tate Modern

What is it? The EY Exhibition at Tate Modern, which provides a thorough, in-depth look at the popular Modernist artist, taking a chronological long-view.

Anna Fox, Country Girls 1999. From the series Country Girls 1996-2001.

Arts review: Alison Goldfrapp- Performer as Curator

Alison Goldfrapp's curated exhibition offers an interesting opportunity to get inside the mind of an undeniably serious talent

James Cauty, The Aftermath Dislocation Principle Parts I and II

Art review: James Cauty, The Aftermath Dislocation Principle Parts I and II

When you walk into this gallery under the arches of Hoxton Station, you are confronted by a spectacle in the best sense. The Aftermath Dislocation Principle Part I (2013) is a large installation of a post-apocalyptic Britain in which all the familiar signs of civilization have been ravaged.

Andy Warhol's Vote McGovern, 1972

Art review: Andy Warhol - Pop, Power & Politics

A new exhibition at the Scottish Parliament brings together a freshly-curated cross-section of Warhol's supposedly political works

‘Gregory’ (1974)

David Hockney's first brushes with genius

Not all of his early works are masterpieces, says Michael Glover, but a new show offers an intriguing glimpse of a young Yorkshire artist urgently developing a style of his own

Art Review: Shunga: sex and pleasure in Japanese art

British Museum, London

The Billy Boys, 1994, Jack Vettriano

Art review: Jack Vettriano - A Retrospective

A DIY show of dead eyes and decoys

George Grosz, Nieder mit Liebknecht (Down with Liebknecht), 1918

Art review: Georg Grosz's Berlin - Prostitutes, Politicians and Profiteers

This is the first substantial London show of works on paper by the great, Berlin-born political satirist Georg Grosz in twenty years, and, oddly, it is being staged in a private gallery. What is more, the show of 50 works is a major loan exhibition – none of the paintings of drawings is for sale. What's in it for the gallery? 'We got a call from a collector the other day, offering us works by Grosz,' Richard Nagy tells me. So there you have it.

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