Andrew Durbin reviews the national pavilions at the 2026 Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the US pavilion for lacking meaningful content, while praising the British and German contributions for their depth and emotional resonance.
At the 2026 Venice Biennale's Arsenale, critic Andrew Durbin reviews national pavilions, finding the US presentation vacuous and lacking meaning, while praising the British and German pavilions for their incisive and moving installations that resist erasure. The review highlights a stark contrast in curatorial ambition and political engagement among the participating nations.
Andrew Durbin reviews the national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The article critiques the lack of meaningful engagement in the US pavilion while praising the depth and emotional resonance of the British and German contributions.
Andrew Durbin reviews the national pavilions at the 2026 Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The article critiques the lack of meaning in the American pavilion while praising the depth and emotional resonance of the British and German contributions.
Frieze critic Andrew Durbin reviews the national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The British pavilion, titled 'YBA & BEYOND,' exports British cool by showcasing works from Young British Artists and their successors, while the German pavilion offers a deeply resonant experience. The US pavilion is criticized for lacking meaningful content, raising questions about curatorial direction and national representation.
Andrew Durbin reviews national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights the disparity in thematic depth and emotional resonance among the three pavilions.
This article is a critic's guide reviewing national pavilions during Frieze Week New York. Andrew Durbin contrasts a vacuous US presentation with incisive and moving installations from Britain and Germany, questioning the meaning and depth of the American contribution.
Andrew Durbin reviews the national pavilions at Frieze New York 2026, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights the disparity in conceptual depth and emotional resonance among the three pavilions, with the US offering little meaning while the British and German contributions engage seriously with contemporary issues.
Andrew Durbin reviews the national pavilions at the 2026 Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights how the best moments of the exhibition live in the institutions built by curator Koyo Kouoh, who organized the Biennale's main exhibition.
Andrew Durbin reviews the national pavilions at an unnamed biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaning in the US pavilion while praising the depth and emotional resonance of the British and German contributions.
The article, a critic's guide review by Andrew Durbin, contrasts the US national pavilion presentation at an unspecified biennial with those of Britain and Germany. The US presentation is described as vacuous and lacking in meaning, while the British and German installations are praised for being incisive and moving. The review critically examines the thematic and conceptual approaches of each national pavilion, highlighting a disparity in artistic depth and engagement.
Frieze critic Andrew Durbin reviews national pavilions at an unnamed biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The US pavilion is criticized for lacking meaning, while the British and German pavilions feature incisive and moving works, including a defiant rave and provocative content like porta-potties and porn.
Andrew Durbin reviews national pavilions at a major biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaningful content in the US pavilion while praising the depth and emotional resonance of the British and German contributions.
British artist Ian Berry, known for creating photorealistic works from recycled denim, is participating in the group exhibition "Textile Art Redefined" at the Saatchi Gallery in London. The show, curated by Helen Adams and inspired by her book "Fine Art Textiles," features 15 visionary textile artists from the U.K. and around the world, running through May 10. Berry's installation "Secret Garden" is made entirely from denim scraps, and he discusses the significance of showing in his hometown and alongside peers he admires.
A local resident has criticized the Nelson Mandela Bay municipality and local media for their delayed response to the deteriorating state of the historic NMB Metropolitan Art Museum. The critique highlights significant factual errors in recent reporting regarding the museum's history, specifically correcting the timeline of its construction phases which date back to 1927, rather than the 70-year history recently cited by officials.
The Weston Loan Programme with Art Fund has announced its tenth round of support, facilitating 15 exhibitions at regional museums across England, Scotland, and Wales through 2027. This initiative funds the logistical costs—including transport, insurance, and security—required to move masterpieces from major national institutions like the Tate, the National Gallery, and the V&A to smaller local galleries. Notable upcoming highlights include the return of Joseph Wright’s 'An Experiment on a Bird in the Air Pump' to Derby for the first time in eight decades and a landmark Leonard McComb exhibition in Birkenhead.
The Vancouver Art Gallery is opening a major exhibition titled 'That Green Ideal: Emily Carr and the Idea of Nature,' featuring a comprehensive survey of the Canadian Modernist's landscapes drawn primarily from the museum's own extensive collection. The show will highlight Carr's distinctive post-Impressionist and Fauvist-inspired style, her deep engagement with the British Columbia landscape, and her spiritual quest for communion with nature.
Five British museums have been shortlisted for the 2025 Art Fund Museum of the Year, the world's largest museum prize. The finalists are Beamish, The Living Museum of the North in County Durham; Chapter arts centre in Cardiff; Compton Verney gallery in Warwickshire; Golden Thread Gallery in Belfast; and Perth Museum in Scotland. Beamish, a 55-year-old open-air museum, recently completed its "Remaking Beamish" project recreating a 1950s town with 32,000 community members. Perth Museum opened in March 2024 after a £27m renovation and houses the Stone of Destiny. The winner will be announced on 26 June at the Museum of Liverpool, receiving £120,000, while each of the other finalists gets £15,000.
Ittai Gradel, a Danish classical gems specialist, has died at age 61. His investigations revealed that hundreds of objects had been stolen from the British Museum, leading to the resignation of director Hartwig Fischer in 2023. Gradel first alerted the museum in 2021 after finding proof that precious objects were being sold on eBay, naming senior curator Peter Higgs as the suspected seller. After initial concerns were ignored, Gradel wrote again in 2022, eventually prompting a police investigation. Higgs was dismissed in July 2023, and Fischer resigned the following month. Of the 2,000 items affected, 626 have been recovered, many bought in good faith by Gradel and returned. Earlier this month, Gradel received a special British Museum award from current director Nicholas Cullinan.
Mexico's Ministry of Culture has identified 195 pre-Hispanic archaeological objects listed for sale on eBay by a US-based seller and has formally demanded the platform halt the sales and return the items. The ministry, through Secretary Claudia Curiel de Icaza, argues the sale is illegal as the export of such cultural heritage has been prohibited since 1827, and their presence abroad results from illicit extraction. Legal action has been initiated with Mexican and international authorities, including Interpol and US Homeland Security Investigations, to secure repatriation.
A monthlong open-air exhibition called BlowUp Jubilee has taken over The Hague, featuring 24 giant inflatable artworks installed in parks, on buildings, and even in a train station. Highlights include a 7-meter-tall stew pot floating in front of the Mauritshuis museum, home to "Girl with a Pearl Earring," and works by artists such as Eugenie Boon, who created a piece inspired by Curaçaoan culture, and British artist Steve Messam, whose red spiked sculpture Crested sits atop a parking garage entrance. The exhibition is curated by Mary Hessing and runs until June 21.
Sanya Kantarovsky, a Russian-born, Upstate New York-based artist known for his haunting, darkly humorous figurative paintings, discusses his studio practice in an interview with CULTURED. He works across painting, video, animation, and sculpture, and at Frieze London, the British gallery Modern Art will present 15 new stoneware sculptures by Kantarovsky, which showcase his dedication to the art and science of painting through glazes incorporating copper carbonate, cobalt oxide, and manganese dioxide.
Kew Gardens in the United Kingdom has been transformed into an open-air gallery with the exhibition "Monumental Nature," featuring thirty sculptures by British artist Henry Moore. The display integrates Moore's large-scale bronze works into the botanical landscape, offering visitors a unique blend of art and nature.
Yares Art in New York is hosting "SIMILITUDES: Color, Form, Friendship," a landmark exhibition exploring the creative dialogue between American painter Helen Frankenthaler and British sculptor Anthony Caro. Spanning nearly five decades of friendship that began in 1959, the show juxtaposes Frankenthaler’s soak-stained canvases with Caro’s steel armatures. The presentation includes archival letters and photographs that highlight their mutual influence, including a 1972 proposal from Frankenthaler to collaborate on a sculpture.
The British Museum has announced ticket pricing for its upcoming exhibition of the Bayeux Tapestry, a 230-foot embroidered cloth depicting the Norman invasion of 1066. Standard adult tickets will cost £33 (about $45) for peak times, with off-peak and super off-peak options at £27 and £25 respectively. The exhibition runs from September 10, 2025, to July 11, 2027, and marks the first time the tapestry has left France for the UK in over 900 years. Each ticket grants a 40-minute viewing slot, and members receive two free visits. The museum is also planning a complementary outdoor installation by garden designer Andy Sturgeon.
The British Museum has announced ticket prices for its upcoming Bayeux Tapestry exhibition, running from 10 September 2026 to 11 July 2027. Top-price adult tickets will cost £33, with off-peak tickets at £27 and student/disabled tickets at £25. Super-off-peak tickets priced at £25 will be available for the last weekday slot during school terms. Members can book free timed tickets from 16 June, with public booking opening on 1 July. The tapestry, depicting the Norman invasion of 1066, will be displayed in the Sainsbury Exhibitions Gallery while its home museum in Normandy undergoes renovations. Additionally, a garden installation titled 'Tapestry of Trees' by designer Andy Sturgeon has been unveiled on the museum forecourt, featuring 37 silver birch trees inspired by the tapestry.
The Canadian Museum for Human Rights in Winnipeg has been threatened with legal action by Shurat HaDin – Israel Law Center over an upcoming exhibition titled "Palestine Uprooted: Nakba Past and Present," scheduled to open June 27. The exhibition focuses on the 1948 expulsion of approximately 750,000 Palestinians, known as the Nakba, and features video testimonies, photography, visual art, and text exploring human rights violations and forced displacement. Shurat HaDin's letter, sent to the museum's board and senior leadership, argues the exhibition omits Jewish historical ties to the region, politicizes history, and could fuel hostility against the Jewish community. The organization demands the museum halt work on the show, commission an independent review, and retract statements about Israeli human rights violations, threatening litigation if the museum does not respond within 14 days. The museum has confirmed the letter is under review but stated the exhibition is still expected to open as scheduled.
The British Museum will present "Tapestry of Trees," an outdoor installation by garden designer Andy Sturgeon, ahead of its historic exhibition of the Bayeux Tapestry. The installation, on view from May 16 to June 2, 2026, recreates a medieval woodland using plants native to East Sussex, including silver birch, hazel, hawthorn, and field maples, evoking the landscape of the Battle of Hastings depicted in the tapestry. Dyed hessian wrapping on planters and root balls echoes the colors and textures of the embroidery.
A French parliamentary report published on 13 May, following the October 19 heist of the crown jewels at the Louvre, issues a damning assessment of the country's museum security and management. The commission heard around 100 testimonies and examined some 2,000 museums, dedicating a special chapter to the Louvre. It blames former director Laurence des Cars's leadership for a "dysfunctional drift" that prioritized contemporary art interventions and fashion shows over basic infrastructure and collection protection, allowing the heist to occur. The report lists rising threats including riots, burglaries, cyberattacks (which forced the National Museum of Natural History in Paris to cancel an exhibition after a ransomware attack in July 2025), and terrorist plots. It proposes 40 recommendations, including raising budgets by an estimated €20–25 billion over a decade, enhancing staff training, and overhauling museum leadership.
The Lost Giants (TLG), an art collective based in Lostwithiel, Cornwall, is reviving the British tradition of making processional giants—large, community-built figures made from wood, cloth, and papier-mâché. Founded three years ago by theatre designer Ruth Webb and her sister-in-law Amy Webb, the group has created giants for events ranging from local lantern parades to a harvest procession at Hauser & Wirth’s Somerset gallery. This New Year’s Eve, environmentalist Lisa Schneidau joined a massive procession of these giants in Lostwithiel, describing it as an extraordinary experience. The collective recently issued a public callout for an environmental group to collaborate on making a new beastie.