Review
The artist who was tied to the sun
The work of the French court sculptor François Girardon is synonymous with the reign of Louis XIV
Loosely hanging appendages: on Rachel Harrison's Perth Amboy at MoMA
The artist believes that meaning accumulates with the amount of things thrown carelessly into a room
That perpetually penniless savant: on Richard Bellamy and Eye of the Sixties
A biography of the art dealer is an exemplary work of journalism and research
Vasari: the artist who overshadowed himself
He is famous for his Lives, but his drawings deserve attention, too
Looking up from the couch: on Mark Wallinger's show at the Freud Museum in London
The artist makes subtle changes to Freud’s study that speak to larger issues
The private pleasures of kings: on nudes from the Prado at the Clark Art Institute
The Spanish Catholic Church tried to curb images of nudity, but artists and patrons did not always oblige
Worth the detour: on the Andrew Lambirth collection
A show of the critic's collection amount to a self-portrait of his taste
Always the same eyes: on Robert Mapplethorpe
The artist combined provocative sex and pristine classicism in his photographs, but no one followed his lead
Looking in the dark: on artificial darkness in art and theatre
A new book by Noam Elcott unearths the role of mediated darkness in cultural history
After Caravaggio: Michael Fried on the painter's enormous influence
The art historian examines the long legacy of the Baroque painter
Undermined by silence: lack of provenance is devastating flaw of al-Sabah collection catalogue
Scholarly assessment is greatly hampered by the lack of detail on where and how the objects were acquired
All together now: on the Francis Bacon catalogue raisonné
The complete collection of Francis Bacon’s paintings is published—at last
Louder than words: on the Language of Things at City Hall Park
The show offers all visitors a chance to consider some serious ideas
From marriage bed to painted pottery: on Geothe's collection
The writer seriously collected maiolica—and enjoyed its light relief and eroticism
A bridge between New York and Paris: on Stuart Davis at the Whitney Museum
The artist's power came from his ability to navigate between American realism and European Modernism
Dis-affecting: Mostafa Heddaya on the Ninth Berlin Biennale
The show’s curators give false prominence to simple provocations
Putting history into art history: on 18th-century British Art
Recent scholarship examines the social context
The seriousness of a child at play: Kenneth Baker on Joel Shapiro at the Nasher Sculpture Center
Shapiro says he only wants to 'stick stuff in space,' which belies the many important questions his work raises
The sedulous Stanleys: power at Knowsley Hall
The cultural intersection of power, patronage and politics
Very sharp, but not long enough
This account of Islamic arms and armour is superb, but a complete catalogue would have been better
Atmosphere, thought and feeling: on Giorgione and his contemporaries
The mastery of his art and that of his Venetian contemporaries
The gospel according to Bruce Conner: on the artist's show at Paula Cooper Gallery
Biblical upheaval is at the heart of a group of tapestries by the artist
A monument to the living and the dead: on the Queen's arms and armour
Long in the making, the catalogue of her collection has been worth the wait
Tate Modern: a museum for our times
In emphasising architecture and spectacle, jettisoning chronology, pursuing diverse audiences and attracting private money, Tate Modern is the quintessential contemporary museum
Loose language: on Liam Gillick's Industry and Intelligence
The artist's new book is confused and lacking in rigour
Latin American artists triumph at South London Gallery
Gallery has partnered with New York’s Guggenheim on survey of the region
A sickly flower of Decadent London: on the work of Aubrey Beardsley
The complete works of the illustrator, presented in all their “corrupting” glory
The Greeks in Egypt: on Sunken Cities at the British Museum
The exhibition explores the interactions between two great civilizations
Venice Biennale: the multiple fronts of architecture do not disappoint
High-impact installations communicate the process of architecture to non-specialists