Tate Modern

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Georgia O'Keeffe, Tate Modern, review: 'an extraordinary show'

The major retrospective of Georgia O’Keeffe’s work that opened this week at Tate Modern in London is a rare opportunity for British viewers to engage with this revered American artist. In the same season as the opening of the Tate extension Switch House, this exhibition illuminates the gallery’s determination to provide new readings of old favourites. Curator Tanya Barson has spun a new tale of O’Keeffe, showing her as a progressive artist who was influenced by photography and not “merely an observational painter”. The inclusion of photography, while interesting, again shows a lack of confidence by the institution to let a singular medium prevail.

Performing for the camera long pre-dates the selfie

Photography was never just about depicting the world as it is. From its earliest beginnings to the age of the selfie, the urge to put on a show for the camera has proved irresistible. And it has produced some of the art form's most astonishing images. John Walsh rubs his eyes

Another decade of grand Turbine Hall installations secured as Tate

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.

Grayson Perry: Damien Hirst's work is hackneyed and tatty

The Turner Prize-winning artist Grayson Perry has attacked Damien Hirst’s work as “hackneyed” and “tatty”. The transvestite potter, 53, who will deliver the BBC Reith Lectures this month, said the “phenomenally successful” artist was playing “a good game”.

Tate apologises for Kraftwerk ticket debacle

Tate bosses have apologised "unreservedly" for a ticketing disaster this week which left many fans of German electronic group Kraftwerk unable to see the band after the gallery's website could not cope with demand.

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Model by Antony Gormley, White Cube Bermondsey, London

A strew of very spare and rather robotic looking body forms, constructed from iron blocks, make their presences felt, tentatively, up the main corridor of White Cube, Bermondsey, and in a gallery off to the right.

Cultural Life: Sebastian Faulks, Novelist


In the Shadow of the Sword by Tom Holland, is an account of the growth of the Arab empire in and around the 7th century AD. The most fascinating aspect was how monotheism became an imperial tool – indispensable to Roman, Persian, Arab and Jew. If the Arabs had had to wait much longer for a voice-hearing prophet all their own, would they eventually have thrown in their lot with their fellow-Semites or with the fashionable new Christians? What a different world it would be.

Tate Global: museum scours world for new art

The West can no longer claim to be the dominant force in modern art, the director of the Tate museums has declared, after announcing a major shift towards acquiring and exhibiting the best new work from Africa, Latin America and the Middle East.