Contemporary Art

Work by Nick Pace

‘Zombieland’: On Contemporary Painting

‘Painting is dead’ is dead, and now we can move on and discuss what it is, exactly, that keeps painting alive, despite everything.

Contemporary Art’s Language Problem

It’s so easy to laugh, it’s so easy to hate: it takes guts to actually explain what the hell contemporary art is all about.

On Contemporary Art’s (Strange) Relationship to the Past

It’s sometimes surprising to realise that contemporary art is only the latest way of thinking visually we’ve been able to come up with.

On Ethics in the Art World, Part 2

Must art itself be ethical (or can it, maybe) or must the art world be ethical?

On Ethics in the Art World, Part 1

If there’s a tipping point in the minds of those casually interested in contemporary art, it’s almost always on moral or ethical grounds.

On Contemporary Art and Mannerism

Mannerism is the only pre-Impressionist “movement” that’s meant as an insult. It describes an art of high style and convoluted reference.
Richard Wright at Tate Britain

On the YBAs

A sense of relief – that contemporary British artists had finally 'settled down', like a 4-year-old falling asleep after a sugar rush – characterised the coverage of the Turner Prize this year.
The contemporary art world, last week

What Does Contemporary Art Look Like?

Contemporary art anticipates a certain kind of critical position, a certain lexicon of interpretation, in sync with transformations in the way that art is made and shown.

On Pop Life at Tate Modern

You’d have to have a heart of stone not to leave this collection of post-Warhol contemporary art without feeling that at least a little part of you had died.

On the Venice Biennale 2009

The magisterial presence of literally hundreds of architectural and artistic masterpieces has a breathing-down-the-neck quality that sends otherwise sensible artists a bit loopy.

On the YBAs at Tate Britain

A new display of contemporary British art at Tate Britain entitled Classified - the title of which picks up on a number of predilections and inferences of the works it shows.

On Interactivity and Cover Versions in Art

Interactivity is now so commonplace at Tate Modern that I sometimes wonder if visitors are disappointed when they see works of art they aren’t allowed to touch.