Hayward Gallery
Part-gothic horror, part-Acorn Antiques: Louise Bourgeois, at the Hayward Gallery, reviewed
Louise Bourgeois was 62 and recently widowed when she first used soft materials in her installation ‘The Destruction of the…
The tyranny of the visual
Stuart Jeffries on the tyranny of the visual
The yumminess of paint
‘Painting has always been dead,’ Willem de Kooning once mused. ‘But I was never worried about it.’ The exhibition Mixing…
The death of the Southbank Centre
The roots of the Southbank Centre’s current crisis stretch back to before the pandemic, says Oliver Basciano
Privatisation is the best option for the South Bank Centre
I must have written about this subject 100 times in 30 years and I’m still having to restate the bloody…
Mother nature is finally getting the art she deserves
Exhibitions about fungi, bugs and trees illustrate the depth, range and vitality of a growing field of art, says Mark Cocker
Few soldiers have seen as many terrible sights as Don McCullin
Diane Arbus saw mid-20th century New York as if she was in a waking dream. Or at least that is…
There’s almost nothing in this Hayward show – and that’s the point
A reflection on still water was perhaps the first picture that Homo sapiens ever encountered. The importance of mirrors in…
Gursky’s subject is humanity: prosaic, mundane, extremely messy His colossal, panoramic pictures are brilliant and lowering at the same time
Walking around the Andreas Gursky exhibition at the Hayward Gallery, I struggled to recall what these huge photographs reminded me…
Less cuddly, more creepy: The Human Factor at the Hayward Gallery
Jeff Koons’s ‘Bear and Policeman’ has been used to advertise the Hayward Gallery’s latest show The Human Factor (until 7…
Tutus, loo rolls and a roomful of balloons
A tip: go see Martin Creed’s retrospective at the Hayward in the company of a child. I didn’t, but I…
