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Fantastic Black artists, climate crisis in sound, and a Windrush victory – the week in art

Myths and Afrofuturism combine, installations go Back to Earth, Documenta embraces the collective, and a long-awaited public sculpture is unveiled – all in your weekly dispatch

Psychedelic cats, Louise Bourgeois' dreams and the world's first coffee house – the week in art | Art and design

Louis Wain’s extraordinary cats, uncanny surrealism in Liverpool and a look at Islamic coffee culture from Sufi pioneers to the Ottoman empire – all in your weekly dispatch

Hauser & Wirth exhibits a large-scale sculpture and twelve works on paper by Phyllida Barlow

For more than 50 years British artist Phyllida Barlow has continuously challenged the conventions of sculpture. A presentation of the artist’s wo

Lucian Freud: Real Lives In Focus Tate Liverpool - Alice Lenkiewicz

Maria Balshaw, head of Tate galleries: 'Our audience hasn't changed enough – not for me'

Maria Balshaw, head of Tate galleries: ‘Our audience hasn’t changed enough – not for me’ The woman who runs four of Britain’s major galleries talks about wanting ‘different’ visitors and surviving a Covid-induced financial crisis 14 May 2021 • 5:00am This is a public institution. It’s paid for by everyone : Maria Balshaw, director of Tate Credit: Rii Schroer for DT Inside a double-height gallery at Tate Modern, a cascade of red felt is tumbling to the floor. What is this crimson downpour of knotted woollen cords? It makes me think of my eldest daughter’s difficult birth. “It should,” says Tate’s director, Maria Balshaw, 51, who has taken me to see this dramatic, newly acquired installation by the Chilean artist and poet Cecilia Vicuña. “It’s a work about the female body. The colour evokes blood and wounds and birth.” As she describes the material’s nubby texture, the intensity of its dye, her words flow passionately, like the strands of Vicuna