A selection of images from Tate Britain’s historic pre-Raphaelite show, featuring work from Ford Madox Brown, Dante Gabriel Rossetti, Edward Burne-Jones and others, along with shots of the exhibition coming together
Photograph: Sophia Evans/Observer
Big Fat Anarchic Spider
The very ordinariness and lowliness of the things Lucas uses to make her work, and the point their usage makes, stops you in your tracks © Sarah Lucas/Courtesy Sadie Coles HQ
In her new exhibition, Ordinary Things, former YBA Sarah Lucas transforms the lowly and finds beauty in the vulgar. Art critic Adrian Searle talks us through the humorous and provocative show
A see-through maze, naked buttocks filmed mid-stroll, an all-white chess set … Adrian Searle likes Yoko Ono most when she’s not trying to be meaningful
“I’m not anti conceptual art. I don’t think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that’s like an algorithm. But my language is painting, and painting is the opposite of that. There’s something primal about it. It’s innate, the need to make marks. That’s why, when you’re a child, you scribble.”
Jenny Saville talks to Rachel Cooke
The last time I saw paintings as deluded as Damien Hirst’s latest works, the artist’s name was Saif al-Islam Gaddafi. A decade ago the son of Libya’s then still very much alive dictator showed sentimental paintings of desert scenes in an exhibition sponsored by fawning business allies. Searching for some kind of parallel to the arrogance and stupidity of Hirst’s still life paintings, I find myself remembering that strange, sad spectacle.
Jonthan Jones’s reviews Damien Hirst’s exhibition Two Weeks One Summer, at White Cube, London. Read the review in full here.
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