Eleanor Nairne

Writing of​ Ruth Asawa’s first solo exhibition in New York in 1954, the critic Parker Tyler described her sculptures as inviting the viewer ‘to be as still as they are or to tremble when they tremble’. He was responding to what had become her signature works: biomorphic forms woven from industrial wire, hung from the ceiling like lanterns. The first of these on display at...

In​ the first room of the Nam June Paik retrospective at Tate Modern (until 9 February), an 18th-century carved wooden Buddha sits on an oblong plinth. Facing him is an image of his own face, which is being recorded by a closed-circuit television camera and relayed onto a 1970s JVC ‘videosphere’. The monitor’s white plastic casing, which looks like an astronaut’s...

A voiceover​ on the CBS evening news of 20 October 1982 described the American artist Keith Haring: ‘He stalks the New York City subways waiting for his chance to strike. When the opportunity comes he moves fast. He has to.’ We see Haring furtively alight a subway car at Madison Square Garden, take a stick of chalk from the back pocket of his jeans and draw onto a blank...