The Tate is to turn the lights back on, and off, on a more regular basis after buying Martin Creed’s controversial Turner Prize winning piece from 2001.
The first exhibition exploring the history of British iconoclasm opens in October
Tate Britain, London
Book by 14 July to save on tickets to this major new show
Some people think David Shrigley’s artwork isn’t serious enough to be, well, taken seriously. Yet the artist, noted for the humour that runs through his comical line drawings, may have the last laugh after being nominated for the Turner Prize.
The first major exhibition to focus on artist Kurt Schwitters' life in Britain following his escape from Nazi Germany opens this week.
Schwitters, Manet, Vermeer ... it's set to be a vintage year for art shows, big and small
Two shows demonstrate the irreversible if brief impact on these shores of Picasso's journey to London and Ben Nicholson's pilgrimage to Paris
David Shrigley, 43
How the master of Modernism taught the Brits a lesson
Sutherland is one of many mid-20th-century artists storming back into fashion at galleries and in salerooms alike
Anti-war protester Brian Haw was a very public thorn in the British Government's side.
The Tate's scrupulously curated show illustrates the impact on British art of the short-lived Vorticist movement, abruptly ended by a shot in Sarajevo
The Vorticists may have only been active for a short period of time, but their influence and importance still burn bright, says Adrian Hamilton
A broken mirror, edges jagged, would be a fitting metaphor for the photographs by Alvin Langdon Coburn, taken early last century. He was smashing convention, refracting reality, elevating partial reflections over traditional images. It's not just a metaphor, though: the pictures he took in this period – vortographs, as they became known – were shot through the prism of three pieces of glass, splitting the image into segments, creating weird and wonderful distortions. "Why should not the camera throw off the shackles of conventional representation and attempt something fresh and untried?" Coburn wrote. "Why should not perspective be studied from angles hitherto neglected or unobserved?" His words might seem naïve when read from the perspective of this century, with our countless ways of seeing. But this was 1916, and Coburn's thoughts were radical.