Tom Jeffreys

From Cample Line in rural Scotland to collective Myvillages, artists are reconsidering their relationship to ‘the rural’

By Tom Jeffreys

Television has long celebrated the before-and-after reveal of a freshly cleaned masterpiece – now many museums are showcasing the hidden art too

By Tom Jeffreys
Isaac Levitan, Spring, High Water, 1897, oil on canvas, 64 × 57 cm. Courtesy: Tretyakov Gallery, Moscow

The influence of Isaac Levitan’s 1897 painting Spring, High Water on 20th-century film

By Tom Jeffreys

Considering our scripted future at Helsinki Contemporary 

By Tom Jeffreys

‘It’s all there: charm, humour, ethics, friendship’

By Tom Jeffreys

Why is the figure of the witch and magical practice making a 21st-century comeback in the arts?

By Tom Jeffreys

For 112 days Sara Morawetz retraced the 2,000 kilometre journey of two 18th century astronomers, tasked with defining the length of a metre

By Tom Jeffreys

Featuring a proposal for a circular motorway around a mountain peak, the ‘weird and absurd’ work of the Russia-based artist

By Tom Jeffreys

Jostling with its loud festival neighbours, the UK’s best attended annual visual art festival conducts a polyphonic debate with art of the past

By Tom Jeffreys

As the most expensive railway on earth is built, is art being used as a mouthpiece for power?

By Tom Jeffreys

Four miles west of the city, Jupiter Artland marks its 10th anniversary with a new commission by Phyllida Barlow

By Tom Jeffreys

At this year’s GI festival, directed by Richard Parry, a future-focused assemblage of what it means to be human

By Tom Jeffreys