Art
Tate Britain’s L S Lowry exhibition seeks to rescue his work from the enormous condescension of the art world. Michael Calderbank spoke to co-curator Anne Wagner
Ian Hunter looks at an exhibition and project remembering persecuted artist Kurt Schwitters
The Artist Placement Group brought artistic practice to British workplaces in the 1960s and 1970s. Janna Graham reviews a new exhibition of their work
From oil tanks to magic forests, Andy Field considers some of the unlikely homes offered to live art
Jane Shallice reports from Manifesta in Genk, a biennial Europe-wide contemporary art exhibition which this year had a coal mining theme
Red Pepper speaks to Martin Rowson about his 30-plus years as a scourge of the political establishment
Daisy Jones takes aim at BBC4’s quixotic attempt to wrap modernist art in a union jack
Michael Calderbank considers utopian dreaming and political engagement in the Joan Miró exhibition at Tate Modern
The performances of art activists Liberate Tate are celebrated in a new postcard collection.
Peter Lazenby reviews an exhibition of the work of Britain’s most important trade union banner maker
Gavin Grindon looks at convergences of the political and the aesthetic
James O'Nions reviews a compelling piece of invented history at the Yorkshire Sculpture Park
The young British Muslim artist Sarah Maple has been at the centre of controversy since first bursting onto the art scene at the end of 2007. Interview by Anikka Weerasinghe
Six days a week they toiled down the mine, making art in their spare time after attending a Workers Education Association art appreciation class. The Ashington Group of miner-artists is the subject of a witty and wise play by Billy Elliot writer Lee Hall, currently showing at the National Theatre, that has much to tell us about art, culture and the working class, writes Steve Platt
Six days a week they toiled down the mine, making art in their spare time after attending a Workers Education Association art appreciation class. The Ashington Group of miner-artists is the subject of a witty and wise play by Billy Elliot writer Lee Hall, currently showing at the National Theatre, that has much to tell us about art, culture and the working class, writes Steve Platt
Wherever he has found himself - with the freedom fighters in the mountains of northern Iraq, as a prisoner in an Iranian jail, and now filling a whole room at the Imperial War Museum - Osman Ahmed has always gone on drawing. He spoke to Amanda Sebestyen about his passionate journey to make his art bear witness for the hidden people of Kurdistan
From graffiti and street art to massive corporate-funded structures such as the Ebbsfleet Landmark (the size of the Statue of Liberty, twice as tall as Antony Gormley's Angel of the North), public art has never been more in vogue. Steve Platt, a reformed 'graffitist', surveys the artistic landscape
