Ten years ago, an art fair pitched a tent in London's Regent's Park. Now film stars and oligarchs queue to get in to the HQ of the see-and-be-seen art scene. Charlotte Philby examines its cultural significance
Gigantic bronze sculptures that fight for attention in public squares get a quiet place of their own
There's plenty going on indoors, too, including some brand-new attractions.
Imagine the art exhibition as a blockbuster action movie: perhaps something like The Expendables (2010), in which hefty stars like Sylvester Stallone and Bruce Willis are brought together (at last!) to spray bullets, pummel and high five: powerful presences brought together. Mark Leckey, in his first major public gallery show in London since winning the Turner Prize in 2008, has brought together some other powerful presences – brands – as though they were the stars of his show. Artists, galleries, electronics companies: all flattened into brands. Samsung! Henry Moore! Serpentine! Fiorucci! Hyde Park! Entering the Serpentine, one is confronted with a trailer for this exhibition – the one that is happening now – announcing the presence of these in his show.
Moore and Hepworth aside, our Modernists persistently failed to hit the target
Metropolitan Museum of Art, New York
A crumbling barnyard, a room full of page three girls and a previously undisplayed work by Damien Hirst will be among the artworks included in the first retrospective of 20th century British sculpture to be held in this country for nearly three decades.
Julian Andrews was in many ways typical of his generation of employees of the British Council, where he spent almost the whole of his working life. His outgoing personality and individuality appealed to colleagues in both the Home and the Overseas Services of the Council and although his combative attitudes to excessive bureaucracy caused friction, he won the respect of everyone with whom he worked.
In his thirties, the establishment's favourite sculptor was exploring erotically charged emotions and a rebellious streak, a new exhibition reveals. Andy McSmith reports
Masterpieces – or works whose formless monstrosity is little short of grotesque? As the Henry Moore retrospective opens at Tate Britain, Tom Lubbock adjudicates
Groundbreaking deal allows footage of sculptor at work to be shown to public. Ian Burrell reports
On the eve of a major retrospective, Richard Cork recalls the extraordinary day he called on the sculptor Henry Moore – and opened some old wounds
Gallery throws open its doors to honour Anish Kapoor – and his exploding cannon
'I've just seen four plays in London in three-and-a-half days'
He has changed our ideas of art just as surely as he has reconfigured lumps of steel into masterpieces
When Damien Hirst unveiled a diamond-encrusted human skull worth £50m, his fans hailed it as a haunting work of genius which fully deserved to become the most expensive piece of contemporary art ever made.