Willem Danielsz van Tetrode. Hercules (detail), ca. 1545–60. Quentin Foundation, London. Greer Lankton. Rachel (detail), 1986. Collection of Eric Ceputis and David W. Williams, promised gift to the Art Institute of Chicago

New York

21 Mar
22 Jul

A pivot to glass by the sculptor shows an attempt to see hope through political disillusionment

Medieval sculpture on the stand of Sam Fogg, Frieze Masters 2017

Frieze Art Fair Video - 12 Nov 2017

The Met’s Luke Syson talks at Frieze Masters about the display of artworks

Tamara Green speaking at Richard Green Gallery, London

Frieze Art Fair Video - 02 Oct 2017

A late Barbara Hepworth bronze on show at Frieze Masters shows the artist reconnecting with her early career, as Richard Green's Tamara Green explains

Leonora Carrington’s kitchen, c.1998, photographed by Chloe Aridjis

Chloe Aridjis recalls taking tea with the great Surrealist in her home in Mexico

Polychrome reconstruction of the Prima Porta statue of Augustus, 2004. Painted plaster cast made after a prototype by P. Liverani, Vatican Museums, Rome, height 2.2 m. Courtesy: Ashmolean Museum of Art and Archaeology, Oxford.

To what extent did the ancients colour their sculptures?

Bertel Thorvaldsen, Józef Poniatowski, 1826–27. Plaster, 4.6 × 1.3 m. Courtesy: Thorvaldsens Museum, Copenhagen 

Bertel Thorvaldsen, Józef Poniatowski, 1826–27

David Bestué, Blood Motor on Sand Bench and Bone and Barble Cups, 2017, from the series ‘ROSI AMOR’, resin, sand, blood flour and marble and bone dust, dimensions variable

Artist and writer David Bestué employs materials as diverse as dust, saliva and fragments of a monastery to explore the meanings contained in the w

Sponsored Content - 09 Jun 2017

As Ron Nagle's solo exhibition ‘Amended Testimony’ goes on show at Stuart Shave/Modern Art, London, the American West Coast artist discusses his intimate sculptural pieces

Mary Ceruti speaking at SculptureCenter, New York City, May 2017

Frieze Art Fair Video - 14 May 2017

Mary Ceruti explains why sculpture might matter more than ever, and the artworks they’re bringing exlucsively to Frieze New York

Phyllida Barlow, folly, 2017, installation view, commissioned by the British Council for the British Pavilion at the 57th International Art Exhibition, La Biennale di Venezia. Courtesy: the artist, Hauser & Wirth, Zurich, London and New York, and © British Council, London; photograph: Ruth Clark

Tanya Harrod on the art of Phyllida Barlow, who is representing Britain at the 57th Venice Biennale 

Sponsored Content - 03 Apr 2017

As his new exhibition is installed at Lisson Gallery, London, the artist explains how painting, place, scale and skin all figure in his thinking about sculpture