Dive into the electrifying pulse of the art world this week, where groundbreaking exhibitions collide with hidden histories and provocative ideas that challenge how we see creativity itself—get ready to be captivated and maybe even a little unsettled!
Exhibition of the Week
Máret Ánne Sara
Prepare yourself for a deeply rooted, environmentally aware installation that envelops you on a massive, immersive level, courtesy of the newest commission gracing the Tate Turbine Hall. This isn't just art; it's a full sensory experience that connects us to the earth in profound ways, inviting viewers to reflect on our planet's fragility through innovative design and materials. For beginners, think of it as stepping into a living landscape where every element tells a story of nature's resilience and human impact.
Tate Modern, London, 14 October-6 April (https://www.tate.org.uk/whats-on/tate-modern/maret-anne-sara)
Also Showing
Peter Doig: House of Music
Imagine a euphoric, dreamlike display of Doig's captivating paintings, paired with his personal vinyl collection spinning through enormous speakers rescued from old movie theaters. This setup is as effortlessly cool as art can be, blending visual splendor with auditory magic to create an atmosphere that's pure bliss. And this is the part most people miss: how Doig's work transforms everyday objects into portals of nostalgia and emotion, making you question what 'cool' really means in the art scene.
Serpentine Gallery, London, to 8 February (https://www.serpentinegalleries.org/whats-on/peter-doig-house-of-music/)
Ed Ruscha: Says I, to Myself, Says I
Delve into the clever, spine-tingling humor of a legendary American artist who masterfully straddles conceptual challenges and vibrant pop art styles. Ruscha's pieces are like riddles wrapped in wit, prompting you to laugh while pondering deeper truths. But here's where it gets controversial: some might argue his eerie jokes border on unsettling social commentary—does this blend of fun and foreboding make art more accessible, or does it risk alienating those seeking straightforward beauty?
Gagosian Davies Street, London, 14 October-19 December (https://gagosian.com/exhibitions/2025/ed-ruscha-says-i-to-myself-says-i/)
Frieze London/Frieze Masters
It's that annual frenzy again, where the elite descend like a storm, turning a park into a high-stakes marketplace for the world's most coveted artworks. Picture squirrels scurrying for cover as fortunes are made and broken in the open air— a spectacle that's equal parts exhilarating and exclusive.
Regent’s Park, London, 15-19 October (https://www.frieze.com/fairs/frieze-masters)
Julian Bell: England Road
Embark on a contemplative journey through serene landscapes and bustling urban vistas, painted by an artist capturing the essence of a cross-country road trip across England. These works invite quiet reflection, much like flipping through a personal travel diary.
Natasha O’Kane Gallery, London, 14-19 October (https://natashaokane.art/julian-bell-england-road-2025)
Image of the Week
For nearly three centuries, these treasures lay hidden from public eyes, but now, two iconic works by William Hogarth are finally unveiled. In this photo, Wendy Porter, a dedicated nurse at the hospital, stands in the grand staircase of the North Wing at St Bartholomew’s Hospital in London, home to the newly restored murals: The Pool of Bethesda and The Good Samaritan. These large-scale paintings by the renowned British artist depict powerful biblical scenes, now accessible to everyone after a meticulous £9.5 million restoration effort. It's a reminder of how art can bridge history and healing—imagine the stories these walls could tell if they could speak!
Read the full story (https://www.theguardian.com/artanddesign/2025/oct/06/restored-hogarth-murals-london-hospital-open-public-st-bartholomews)
What We Learned
Peaceful days in Somerset provided a lifeline for Don McCullin's mental well-being (https://www.theguardian.com/artanddesign/gallery/2025/oct/09/somerset-saved-my-sanity-don-mccullin-at-90-in-pictures)
For Lisa Herfeldt, joy comes from wielding a warm silicone gun in her creative process (https://www.theguardian.com/artanddesign/2025/oct/06/i-sometimes-have-the-feeling-that-things-are-alive-the-sinister-silicone-gun-art-of-lisa-herfeldt)
Nigeria's independence sparked a liberation of artistic minds, tackling the nation's identity struggles (https://www.theguardian.com/news/2025/oct/08/this-is-a-west-african-story-how-modern-art-tackled-nigerias-identity-crisis)
Art dealer Betty Parsons reserved her weekends solely for pursuing her own painting passions (https://www.theguardian.com/artanddesign/2025/oct/07/betty-parsons-review-scintillating-seaside-adventures-from-the-woman-behind-giants-like-rothko)
The British Museum's Nordic Noir exhibition falls disappointingly short of expectations (https://www.theguardian.com/artanddesign/2025/oct/07/nordic-noir-review-severed-head)
Wayne Thiebaud's depictions of candies and pastries evoke the allure of the American dream (https://www.theguardian.com/artanddesign/2025/oct/09/wayne-thiebaud-review-courtauld-gallery-london)
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Don Bachardy shared memories of how Hockney depicted him in a groundbreaking piece of queer art (https://www.theguardian.com/artanddesign/2025/oct/08/david-hockney-don-bachardy-christopher-isherwood-california-queer-art)
Masterpiece of the Week
Flood Waters by Claude Monet, 1896
Behold the rising waters in this striking work by the masterful impressionist, capturing a surprisingly dramatic and almost end-of-the-world scene. Traditionally, floods in art carry biblical weight, as seen in pieces by artists like Uccello, Michelangelo, and Poussin, where they symbolize divine retribution—sinners floundering in chaos while Noah's Ark offers salvation. Yet, Monet's approach is refreshingly secular; he's merely documenting a bout of harsh weather. Trapped at his Giverny home during autumn floods in 1896, he channeled the downtime into this mesmerizing, albeit gloomy, portrayal of a submerged field. Skeletal trees emerge like ghostly figures from the murky, mist-shrouded waters, blending earth and sky in a haunting reflection. This piece stands as a darker, more intense counterpart to Monet's famous water lily series, where he blurs realities through mirroring effects—but here, the mood turns eerie and dreamlike, almost nightmarish. For art newcomers, it's a great example of how impressionism uses light and color to evoke emotion, not just depict scenes.
National Gallery, London (https://www.nationalgallery.org.uk/paintings/claude-monet-flood-waters)
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What sparks your curiosity most in this week's art roundup—the immersive installations or the provocative interpretations? Do you agree that art should challenge our comfort zones, or is there a line it shouldn't cross? Share your opinions in the comments below—we'd love to hear your take!
