The week in culture
Tate Britain's new exhibition seeks to shake off watercolour's fusty exterior and reveal the dynamic, contemporary medium beneath. But will it wash?
It's a gloomy world that Rachel Kneebone has created at White Cube. The walls are painted in shades of grey, dark and brooding in the downstairs gallery and paler upstairs, the paint streaked in rain or tears. Kneebone makes extremely complex, delicate porcelain sculptures that teem with confusing, writhing tiny body parts arranged like urns or wreaths: a leg here, a penis or vagina there, and twisting forms that look as though they could be vines or spinal chords. Pieces of bodies in a horrific jumble. The sculptures are at times hideous visions that present bodies in states of fear, sadness and horror.
The arresting title drolly indicates the almost Manichean worldview espoused by Ray Wylie Hubbard, grizzled veteran of the Texas singer-songwriter scene.
Michael Glover takes a close look at the William Blake etchings purchased by the Tate this week
The Museum of Everything sounds a pompous name for a new gallery. But the Outsider Art it shows is disturbing and memorable, says Tom Lubbock
The days when pop stars just sang are over. Never mind Will Young on Question Time – musicians today are likely to be lecturing at a podium near you. Elisa Bray samples their wisdom
Turner Prize-winner Mark Wallinger finds connections between his and other artists’ work in a highly diverse show
When William Blake began orchestrating his first solo exhibition in London in March 1809, showcasing what he thought were his most important works of art, he hoped the world would instantly hail him as a British Raphael or Michelangelo.
Next week is the 400th anniversary of John Milton's birth. Epic poet, champion of freedom, attack-dog for the English republic, he still divides readers. Boyd Tonkin looks at his legacy