Matthew McLean

At Sadie Coles HQ, London, the artist turns his pin-sharp brushwork to depth and volume, conjuring surfaces that seemingly scoop and protrude

The gallery enters its sixth decade as one of its founding member, Judith Bernstein, turns 80 

For some, Frieze Week is synonymous with invitations to eat. One writer explores the sometimes secretive art-world ritual

A new public program of talks, screenings and Buddhist meditation launches in the art landmark on the Bowery

The curator talks about her approach to the 59th International Art Exhibition and restoring energy to the Venice Biennale

This year’s initiative, supporting emerging filmmakers, addresses the universal theme of ‘Facing Change’

Fair director Christine Messineo surveys the expansive cultural landscape, from major institutional exhibitions to community craft projects

As collective reopens its renovated exhibition space we look back at its impressive record of rearing talent, dating back to its tram-shed Clapham days.

Matthew McLean questions what great feasts throughout art history tell us about plenty and excess

On the haunted, transatlantic landscape of Alberta Whittle’s new film commission, shot at the height of the COVID-19 pandemic

The Berlin-based artist works across and between performance, text and image

The artist’s installation – based on the interior of a nearby gay cruising bar – invokes a haunted sense of refuge

The artist’s exhibition at Migros Museum, Zurich, reflects on the political uses of platitudes and truisms

A recent exhibition at Carlos/Ishikawa, London, conjured an experience of being controlled within a carceral capitalist state

From Marina Abramović to extinct tropical birds, seeing more than what’s there

Exploring Isamu Noguchi's News (1940), the inspiration for Frieze Sculpture New York

Q: Will there come a point when you are sick of talking about I Love Dick? Has that point come already? 

A: Yes

For all the camp and capering, Eddie and Patsy’s antics also have a plaintive, even existential tinge

The Turner Prize-winning photographer’s set design for ENO’s new production asks: can the greatest horror be better communicated by the unseen?