There was a time when Gilbert & George made provocative pictures that probed the body politic for sore points that others preferred to ignore. Trawling the streets of East London, where they’ve lived since the 1960s, the artist duo chronicled the poverty and squalor of their neighbourhood in large photographic panels that feature the angry, the debased and the destitute.

Tate Britain’s Lee Miller retrospective begins with a soft focus picture of her by New York photographer Arnold Genthe dated 1927, when she was working as a fashion model. The image is so hazy that she appears as dreamlike and insubstantial as a wraith.

This must be the first time a black artist has been honoured with a retrospective that fills the main galleries of the Royal Academy. Celebrating Kerry James Marshall’s 70th birthday, The Histories occupies these grand rooms with such joyous ease and aplomb that it makes one forget how rare it is for blackness to be given centre stage.

A rare cloud form envelopes the headland and to the east and the west Folkestone is cut off from the known world. This mist shortens the visual range, drawing attention to the chalky soil, the sea gorse and the looping swifts. It also softly frames 18 site specific works of contemporary art that work in sympathy with this historic settlement. Folkestone is, as the Triennial shows, rich in local inspiration. 

Brian Clarke died on 1 July 2025, after a long illness. He was one of the most original British artists of our time – wide-ranging, ground-breaking and influential. His painting was first-class, but it was in the field of architectural stained glass, which he approached as a fine artist, and in a radically innovative manner, that he truly made a name for himself. 

It took until the last room of her exhibition for me to gain any real understanding of the work of Australian Aboriginal artist Emily Kam Kngwarray. Given that Tate Modern’s retrospective of this highly acclaimed painter comprises some 80 paintings and batiks, the process had been slow!

When he was a callow youth of 18, German artist Anselm Keifer got a travel grant to follow in the footsteps of his idol, Vincent van Gogh. Some sixty years later, work by the two artists has been brought together at the Royal Academy in a show that highlights Van Gogh’s influence on his acolyte and invites you to compare and contrast.

When in the 1990s, Jenny Saville’s peers shunned painting in favour of alternative media such as photography, video and installations, the artist stuck to her guns and, unapologetically, worked on canvases as large as seven feet tall. While still a student at Glasgow School of Art, she painted Propped, 1992, one of the most challenging and memorable female nudes in the history of art (pictured below right).