Whether it is a punkish crop or bouncing curls, Somerset House’s new exhibition focuses on the man behind the 20th Century’s most iconic styles.
The last of Wagner’s cycle of music dramas, Götterdämmerung, is a German translation of the Old Norse word Ragnarok, which in Norse mythology involves a prophesied war where gods and heroes battle until the world is razed.
The ’60s are back in a big way, and the hints are everywhere if you just know where to look.
With a dazzling premises on Davies Street in Mayfair, Kallos gallery announced itself with a big fanfare a just two years ago, hoping to blow away the cobwebs from the creaky doors and knock “ring for entry” signs off of the stuffy world of antiquities.
Lucy +Jorge Orta are the sort of socially conscious artists the world needs more of.
HOME, Manchester’s international centre for contemporary visual art, film and theatre, is the epicentre of the city’s creative hub.
This month, a new conceptual work by the artist Cyril de Commarque floats down the Thames.
Martin Creed is a man who divides opinion.
Alluding to Simone de Beauvoir’s 1949 feminist text, Gasworks’ latest exhibition in their newly renovated premises presents the work of Sidsel Meineche Hansen in ‘Second Sex War’.
London’s Lisson Gallery is one of a handful of influential galleries lying outside the Mayfair heart of the commercial contemporary enclave.
The month-long exhibition CMYK by artist Michaela Zimmer opens this week at the up-and-coming FOLD Gallery in Fitzrovia.
British born Lucy Orta, and her Argentinian husband Jorge Orta are artists with a huge social conscience.
South London Gallery is a small but perfectly formed bastion for the contemporary arts.
Aowen Jin does not fall into any pre-conceived notions you may have for an artist.
Modern Art Oxford has been a bastion for contemporary art outside of the London bubble.
At first glance, Peripheral Visions, the solo exhibition of works by internationally acclaimed Moscow-based artist Olga Chernysheva, now on at GRAD London, looks rather…grey.
The first thing I noticed walking into Japanese artist Tetsumi Kudo’s opening at Hauser & Wirth was a distinct plastic scent.
In an age where video surveillance is increasingly compromising our personal privacy, artist Ai Weiwei speaks a universal language for our times.
The Tate’s new offering is one of old works, but despite the walls of The World Goes Pop being filled with the art of the 60s and 70s, we are told that this is not a retrospective style offering, but a re-education of sorts.