On Alan Clarke’s Rita, Sue and Bob Too, the death of Ian Brady, and what laughter might conceal

From Umberto Eco on fascism to Thomas Pynchon’s stand-in: what to read this weekend

At what point does a doodled line become a nose? The paintings of Allison Katz

Illustration by Lauren Rolwing

Dada's centenary and the importance of absurdity

Mortality, madness and misgivings in the work of Bedwyr Williams

New Museum, New York, USA

When Things Don’t Work Out, 2014, oil, watercolour, pastel, oilstick  on linen, 1.4 × 1 m. All images courtesy  Casey Kaplan, New York, Marc Foxx Gallery, Los Angeles, and Tanya Leighton, Berlin

Illustration and art history collide in Sanya Kantarovsky’s paintings

fruits, vegetables; fruit and vegetable salad, installation view of ‘Images’, 2012, MoMA PS1. Courtesy the artist, Sadie Coles, London, Franco  Noero, Turin, Andrew Kreps Gallery,  New York, and MoMA PS1, New York;  photograph: Matthew Septimus

How Darren Bader has pushed the readymade to its extreme

 Pose Work for Plinths 3 (detail),  1971, 12 black and white photographs  on paper on board, 75 × 68 cm. Courtesy the artist and Tate,  London

The consistently inconsistent career of Scottish artist Bruce McLean

Nayland Blake and Lynne Tillman, Stop me if you’ve heard this one before ...,  2013. Courtesy: the artists, Matthew Marks Gallery, New York, and Rockypoint Press, Los Angeles

In defence of irony

Cosmic Slop ‘Dutchman’, 2013, black soap  and wax, 245 × 130 × 7 cm. Courtesy: the artist, George Economou Collection and Hauser & Wirth, London; photograph: Fanis Vlastaras and Rebecca Constantopoulou

Rashid Johnson talks to Tom Morton about fiction, humour and homage

Mike, 1980, black and white photograph. Courtesy: the artist and Greene Naftali, New York; photograph: General Idea

Dan Fox talks to Michael Smith about minimalism, comedy and failure