Curators

Anatomies of exhibitions: Tate Britain. "To define British art"

Director Stephen Deuchar and curators Christine Riding and Robin Hamlyn reveal how they choose the shows

Putting Matisse and Picasso back in the ring at Tate Modern

Matisse wanted his art to be like a comfortable easy chair, while Picasso preferred to think of art as a weapon. But did these statements correspond with reality?

Irelandarchive

Exhibition of Visual Art (EV+A) in Limerick remains relevant and provocative

Pigs not caught in flagrante delicto and women wrestling with balloons are just some of the delights at this multi-venue biennale curated by Rosa Martínez

Iwona Blazwick on her time with Tate and the future of Whitechapel

The number two position at Tate Modern might satisfy most curators but Blazwick has given it up to direct the Whitechapel Art Gallery

Interviewarchive

The house that Michael built: Interview with Michael Auping

An interview with one of the curators of this year’s Whitney Biennial as his sculpture exhibition moves south of the Texan border

Interviewarchive

Interview with Marcia Tucker on building a truly contemporary museum: “Process, not product”

Marcia Tucker, the founding director of the New Museum of Contemporary Art, New York, reviews her work of the past twenty-two years

Interviewarchive

The brains behind the Biennale: Interview with Harald Szeemann

The Biennale director who launched the “Aperto” section for young artists is now replacing it with “d’Apertutto” as the theme of Biennale ‘99

Interviewarchive

We must salvage what remains of the past: Interview with Johnson Chang

The guru of avant-garde Chinese art in the Eighties and early Nineties talks now of a return to tradition

Behind the scenes at MoMA with John Elderfield and Kirk Varnedoe

Exhibitions, projects, budgets, and attendance at the Museum of Modern Art in New York

Tatearchive

Tate Gallery: With Bow Bells, Cockney costermongers and artists

Iwona Blazwick describes a new and socially engaged style of curatorship at London’s future Tate Gallery of Modern Art

Obituariesarchive

Obituary for Michael Jaffé: As demanding of himself as he was of others

A formidable connoisseur, academic and museum director who inspired many top figures in the British art world.

Interviewarchive

Interview with Christos Joachimides, beleaguered exhibition organiser and agent provocateur

“We have wanted to create more of an essay than a history, so we made a list of artists who have done something decisive... or who created work that one simply cannot overlook”

Womens’ rights campaigner, Mme Sadat, supports an Egyptian show with a pc twist

"Mistress of the House, Mistress of Heaven” is at the Brooklyn Museum 20 October - 5 January 1997

Interviewarchive

The long and fruitful relationship between Picasso and portraiture: Interview with curator William Rubin

The Director Emeritus of the Museum of Modern Art, New York and leading Picasso scholar in American museums discusses the exhibition he has curated opening this month

Major Latin American art exhibition arrives in New York this month

This will be the largest show of modern Latin American art to be presented in the United States

That famous light on Bacon: Museo Correr shows major retrospective

David Sylvester curates an exhibition of the artist's finest works in Napoleonic rooms

The V&A recruits European talent

Dr Norbert Jopek to join Sculpture department

Interview with curator Denys Zacharopoulos on Documenta IX: It’s a Documenta of certainties

“The museum is like a voodoo fetish, the artist a sorcerer but also a prisoner”

Censorshiparchive

Jane Kallir mounts timely investigation into censorship of modern art

Exhibition gives historical context to denunciation of Mapplethorpe and Serrano

Julia Peyton-Jones steps up as new director for the Serpentine Gallery

She intends to look to global contemporary art while maintaining the importance of home-grown artists

Jennifer Mundy argues conservative art can also be good art: On Jane Lee's new Derain monograph

The Tate curator discusses moving on from Fauvism and the relationship between originality and quality