Painting
Why the process of painting never ends
The US artist Brice Marden takes a new tack in his latest works, on show at Gagosian in London
Artist William Tillyer given year-long platform by London dealer Bernard Jacobson
Stalwart gallerist to launch five shows and a monograph on the painter, who turns 80 next year
Drip dry: Moca LA to restore Pollock painting in its galleries
The museum aims to open the cleaning process to the public, with a conservator on hand to answer questions
Many strategies for survival: Barbara Rose on painting after Postmodernism
Rumors of the death of painting have been greatly exaggerated
Full of prim euphemism: Brian Dillon on Dave Hickey’s 25 Women
The book’s finest points are overshadowed by dispiriting foolishness
Cool doesn’t cut it: Andrew Lambirth on painting today
The presentation of painting all too often undermines the nature of true invention
The Cranachs and Luther, a beautiful friendship: Joachim Whaley on the Luther Decade
Part one of a series on Luther’s favourite painter and publicist
How the Cranachs made Luther unmistakable: Joachim Whaley on the Luther Decade
Part two of a series on Luther’s favourite painter and publicist
Luther, Cranach and political propaganda: Joachim Whaley on the Luther Decade
Part three of a series on Luther’s favourite painter and publicist
Drip, drag and drape: Tate explores performance art and paint in motion
Tate Modern shows that painting and performance are not polar opposites, but have a long history of interaction
Interview with George Condo: Finding a theatre for the absurd
Velázquez meets Bugs Bunny in George Condo’s first major retrospective on the South Bank
Interview with Wilhelm Sasnal: Home is where the art is
Wilhelm Sasnal on how his native Poland provides the inspiration for his work on canvas and celluloid
Why the Tate turned down Rothko’s offer of 30 paintings
Archives reveal the events behind director Norman Reid’s decision to accept only nine of the artist’s pictures
David Hockney donates his largest painting to Tate
Bigger Trees near Warter is 12m long and 4.5m high, and made up of 50 separate canvases
The Iraq war in watercolour: Interview with Steve Mumford
The artist has visited Iraq five times, and has no qualms about placing himself in the line of fire to document the conflict
Interview with Anselm Kiefer: “Expectations are always unfulfilled”
Anselm Kiefer on leaving his studio of 15 years, the commercialisation of art and why the Holocaust still matters
Interview with Tomma Abts, champion of abstraction
Abts’ small, deeply layered canvases exert a quiet power
Will Reynolds’ Archers stay in the UK? A look at Tate's fundraising efforts and the effects of the Waverley Criteria
Tate needs over £2 million to buy the £3.2m painting from an overseas buyer
Francis Bacon’s paintings of Van Gogh gather in Arles
Fondation Vincent van Gogh assembles the surviving paintings in this series
Book Review: Jo Crook and Tom Learner, The impact of modern paints
(Tate Publications, London, 2000), 192 pp, 25 b/w ills, 160 col. ills, £16.99 (pb) ISBN 1854372874
Book review: Kirsh and Levenson's "Seeing through paintings: physical examination in art-historical studies"
A popular, non-technical explanation of the physical composition of paintings is not easy
London contemporary galleries: Painting, painting everywhere
Iconic interiors at Gagosian, pucker and slide at Mummery, some great British grub at Holdsworth, painterly lavatory walls at Anthony Reynolds, strange girlish doodles at Cabinet, while Vic Reeves turns artist at Percy Miller
Dalí sculpture en masse in London
600 pieces of Dalí’s Universe on display at County Hall
Shedding light on Rothko’s light: Abstract Expressionism at the National Gallery of Art
The biggest show of the artist’s work for over twenty years derails the view that his highly charged colour-field paintings were a reflection of his moods
Our island story at the Tate
Dynasties, a big show of Tudor and Jacobean painting, demands considerable intellectual input from the visitor
"The Baroque World": A five-volume Atlas of baroque art, published by UNESCO
$2.5 million publication covering fifty countries
Junk art, environments and gender-bending in light-weight post-summer shows
Surrealism old and new