In the Eye of the Beholder

For the price of a second-hand car, you could own a piece of work by the world's greatest artists, says Stephen Goodwin

The qualifications for a course on sculpting are a willingness to have fun and to experiment. There's no such thing as right or wrong, as Sally Staples found out from a group of chiselling, chipping students.

"A sculpture is like a person" said Henry Moore "and you must treat it like one. You must put it in its best environment, like a person, if you wish to see it at its best." Which, for Moore meant in the open air, with trees and water and above all with sunlight.

The judges for the Turner Prize are preparing to announce an all- women shortlist for the ever-controversial pounds 20,000 award for contemporary art.

Robert Morris, Henry Moore Institute, 74 The Headrow, Leeds (0113-234 3158) to 24 August

A reclining figure by Henry Moore fetched pounds 1.36m in New York on Tuesday evening at the start of a sale of 44 works of art left by the sculpture to his daughter, Mary Danowski.

I said the other day that nothing interesting had happened in the election so far. I take that back, after the episode of Mr Will Self taking heroin in the Prime Minister's aeroplane.

Raymond Coxon was a painter for over 75 years. He produced diverse and stimulating work, from portraits to landscapes and even church murals, although his loyalty to his own direction sometimes left him apart from fashionable development. None the less, his paintings have been bought by many distinguished collectors including Maynard Keynes, Sir Michael Sadler, Henry Lamb and Sir Edward Marsh; they also hang in numerous national and provincial collections.

Tony Cragg may live in Germany, but his sculptures at the Whitechapel are almost too British

The sculptor Henry Moore's daughter Mary yesterday lost the latest round in her battle to gain control of millions of pounds' worth of her father's work.

Moore estate

JOJO MOYES

`It can be horrible and terrifying and beautiful and bafflingly direct in its sheer strangeness.' Andrew Graham-Dixon on the RA's brilliant exhibition