Giorgio Morandi at the Estorick: still lifes steeped in gentle, sensuous humanity
Don't be put off by the subject-matter – the reclusive Italian artist understood art’s magical capacity for making the everyday transcendent
Don't be put off by the subject-matter – the reclusive Italian artist understood art’s magical capacity for making the everyday transcendent
Climate activists attacked Old Masters and Damien Hirst went up in smoke as the art world was turned on it head
Veronica Ryan' has some strong work behind her, but Heather Phillipson was the finest artist on this year's shortlist
An innovative new online exhibition, Fruits of the Spirit, is smothered in meandering texts which recall Radio 4’s Thought for the Day
The beautiful game has inspired a great deal of awful work – but just occasionally, the results are scintillating
Making Modernism, the Royal Academy’s new show, sheds new light on four female artists, one of whom is truly a first-rate talent
On loan at the National Gallery from New York's Frick Collection, these two monumental creations are good enough to eat
With a strong quartet of finalists, the annual award is once again fulfilling its brief in showcasing excellence in contemporary British art
What's to be found at this year's Frieze, from the serious to the silly and surreal
The arts organisation’s outgoing co-directors reflect on their careers, from ‘shifting the dial’ to producing Whiteread’s divisive House
Art's great showman-cum-entrepreneur was in his element as – for a new show – he started incinerating thousands of his works
Cecilia Vicuña may be the toast of the art world, but this is far from her best work – or the best use of the impressive Turbine Hall
Tate Modern's note-perfect new survey of the French pioneer strips away the received wisdom about him and invites us to consider him afresh
A Tate blockbuster wants to strip away the 20th-century ‘isms’ he spawned – and bust the myth of an apolitical, unworldly hick
Malawian artist Samson Kambalu's new comment on colonialism has a mesmerising stillness, and its spirit is not iconoclastic, but gentle
The National Gallery's new retrospective repurposes Freud for an era in which masculinity is considered suspect, toxic – it's a hard sell