Ed Kienholz’s wild constructions transformed pop art, but the Baltic has turned his shout into a whisper, says Waldemar Januszczak
Archive
You just can’t keep her down
Her new show may be shadowed by a sense of mortality, but Sam Taylor-Wood has lost none of her ability to fascinate, says Waldemar Januszczak
Surrealism: revolutionary or ridiculous?
Whatever your point of view, the Hayward’s dodgem ride of a display will impress you with its energy, says Waldemar Januszczak
She’s laying it on thick
Could Cecily Brown be the best British artist painting today? She certainly gives great sex, says Waldemar Januszczak
Designing a New World
It starts out as a modernist’s dream: so why does the V&A’s stunning new show still manage to lose its way, asks Waldemar Januszczak
A shade too light
Ellsworth Kelly is still the king of colour — Waldemar Januszczak’s just not sure the new ones are working for him
Thoroughly modern Bauhaus
The Tate’s thoroughly modern Bauhaus greats are hot at both ends, but a muddle in the middle, says Waldemar Januszczak
A museum missing in action
Tate Britain is again shirking its patriotic duty, claims Waldemar Januszczak
Caravaggio and Rembrandt
Two geniuses going 15 rounds for the heavyweight belt of the baroque: but with Caravaggio and Rembrandt in the ring, is it too tough to call, asks Waldemar Januszczak
The Michelangelo code
The genius who painted the Sistine Chapel was also rude, puerile and a tad pornographic. Waldemar Januszczak deciphers the real Michelangelo