Arts and Entertainment Dominique Gonzalez-Foester's installation 'TH.2058' which opened in October 2008 at the Tate modern

Tate Modern has ensured another decade of popular large-scale installations in its Turbine Hall – which has hosted work from Ai Weiwei’s porcelain sunflower seeds to Olafur Eliasson’s giant sun – after signing its “largest and longest” sponsorship deal.

And about time, too

Louise Bourgeois was a late starter. Her great work didn't appear until 30 years ago, when she was in her fifties. But we've had to hang around until now to get a retrospective. By Tom Lubbock

The Critics: Exhibitions: The kiss of the spiderwoman

Louise Bourgeois Serpentine Gallery, W2 Phillip King Bernard Jacobson Gallery, W1 Rachel Whiteread Anthony d'Offay Gallery, W1

Freeing the savage beast within

Shocking, disturbing, obscene: Louise Bourgeois's sculptures disect the female condition. By Iain Gale

Not in front of the British

A major show that places women artists of the 20th century alongside men and deals unequivocally with sex: it's no surprise that you can't see it here. By Louisa Buck; 'Feminin-Masculin' is a massive, over-ambitous orgy of an exhibition. It stands as a challenge to both artistic and sexual stereotyping. It avoids moral judgements and focuses on work that is explicit and transgressive


choice: the critics

EXHIBITIONS: Dead uncertainties

Major themes, minor exhibits - a new show on life, death and the end of the millennium reflects a decline in visual art

Faces to watch in the art world; 2. Stuart Morgan

Stuart Morgan is the curator of the Tate Gallery's current Rites of Passage exhibition, an essayist and editor for art magazines and an inventive - not to say idiosyncratic - lecturer on the art college circuit.

"No disrespect to art intended, but you can't just designate a 'religious' role to it." Tom Lubbock reviews the Tate Gallery's ambitious new exhibition, 'Rites of Passage'

Door-stepped or button-holed by religious evangelists, it's struck me that, just to return the favour, one should be able to make some retort like: "But have you, for your part, ever considered trying art? There's a lot of us find it makes a big difference to our lives." When it comes to it, though, I couldn't do this with a straight face - not from any lack of faith in art as such, but because it would imply the wrong kind of faith in it. And one doesn't want to go leading evangelists up the garden path.

overheard. . . at the Tate's 'Rites of Passage'

1. On John Coplans

Force of nature

Louise Bourgeois - 84, intimidating, ferocious, fragile grande dame of the surreal - talks to Louisa Buck

ART / Ooze of delight

Women artists are poking fun at convention. Rose Jennings reports

The pencil is mightier than the word

Michael Craig-Martin, moving spirit behind the new conceptual art, is p ortrayed as an enemy of traditional art skills. Now he's curated a history of drawing. By Adri an Searle

Outside Edge: Edward Helmore at the White House

When Jacqueline Kennedy first conceived of a First Lady's Garden at the White House, she probably did not imagine the integration of modern sculpture and statuary into political life. More than 20 years later, Hillary Clinton has unveiled 12 chosen works under the title of 'Statues into Sculpture'.

BOOK REVIEW / Stripping away the anxieties: 'Mapplethorpe' - Arthur C Danto: Cape, 60 pounds

ROBERT MAPPLETHORPE took pictures of celebrities with their clothes on and black men with their clothes off. The celebrities have surnames - Rossellini, Saatchi, Mailer, Schwarzenegger; the blacks mostly don't. The juxtaposition of these two kinds of picture sent a frisson through the New York art world in the 1980s: they made Mapplethorpe himself a celebrity. And it is Mapplethorpe's black nudes that are the basis of the claim that he extended the range of the photographic representation of the human figure, rather than simply challenging the limits of public tolerance.
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