The Tate’s director Nicholas Serota is at the helm of “Henri Matisse: the Cut-Outs” (17 April-7 September), which includes <i>Icarus</i>, 1946. Photo: © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jean-Claude Planchet; © Succession Henri Matisse/DACS 2014 Attendance

The importance of being a director-curator

Nicholas Serota and Udo Kittelmann reveal why they still want to organise exhibitions (The Tate’s director Nicholas Serota is at the helm of “Henri Matisse: the Cut-Outs” (17 April-7 September), which includes Icarus, 1946. Photo: © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jean-Claude Planchet; © Succession Henri Matisse/DACS 2014) Published online: 16 April 2014
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Lego my Rietveld

What are Legos if not the toys of democracy, breaking down the barriers between fine art and design and allowing anyone, anywhere, to build something easily and efficiently? These must have been the thoughts running through the artist Mario Minale’s head when he re-envisioned Gerrit Rietveld’s 1917 >>>

Multimedia

Video: Chris Marker ventures to Plato's cave

The Whitechapel Gallery in London opens the first UK retrospective of the French film-maker Chris Marker on 16 April. In this clip from his 1989 television series The Owl’s Legacy, Marker compares the dark and quiet movie theatre to Plato’s allegory of the cave, where prisoners have a hard time distinguishing images from reality.

Provenance research in Germany is not completely dire—but a happy solution is still a way off

Much has been done to return art looted by Nazis to owners' heirs but the momentum has slowed

The life and death of Mike Kelley

 

Face Value: Portraiture in the Age of Abstraction , from Friday, 18 April in Washington, DC

In 1975, the American poet John Ashbery published a short book titled Self-Portrait in a Convex Mirror. The name was borrowed from a Parmigianino picture painted around 1524 that Ashbery took as the central theme of the book’s title poem. Ashbery later called his piece a “Mannerist work”, much like...