Beauty. Fashion. Lifestyle. New York-based artist Micaiah Carter has a singular creative vision. It is rooted in core values of empathy and connection.

Jackie Black reproduces last meals of those who have been subjected to capital punishment. The photographer draws attention to social injustice.

Reality machines explores Olafur Eliasson’s career, offering a unique look at an artist who uses nature as a material to create experiences.

We review Robilant + Voena, London’s current Gianni Colombo exhibition, organised with the Archivio Gianni Colombo, which celebrates a pioneer of environmental practice and installation.

Turner Contemporary’s exhibition surveys Grayson Perry’s career from his earliest watercolours to his latest architectural project, showing him as an unflinching commentator on society and art.

There is something disarming about Tim Etchells’ environments in which the ordinary and the mundane become laced with an unknown potency.

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In a career spanning more than 50 years, Mimmo Rotella experimented with a number of different working methods, trying to overcome traditional languages of expression and representation.

There is a tension in Sarah Gillespie’s work between an otherworldly stillness and the innate energy of nature. Landscapes, birds and insects are captured with a sense of detail that arrests the passing of time.

The second instalment of Lacey Contemporary’s launch of its artists showcases the work of three British painters. Reality Departure explores painting’s ability to capture the world as it is mediated by the human mind.

There is more to Allen Jones than those tables. As if to acknowledge this fact, the curators of this retrospective have placed two of them right at the beginning of the exhibition. Once the shock and awe is over, the show unfolds to reveal the unfailing ingenuity of a British Pop artist.

This exhibition is – as it always has been –all about Tracey. But it is about a mature Emin who has absorbed the ravages of time and embodied them in a new materiality. Somewhere beneath the layers of gouache, Mad Tracey from Margate is lurking.

The career of Sigmar Polke is the restless search for the optimum means of expressing the truth of the static past in the fluid present. This exhibition reveals that his key was always nothing more or less than the unstable boundaries of art.

Lacey Contemporary, which officially launched last night, opened its doors for a sneak preview with a diverse and energetic show of painting at the end of September. The gallery, nestled in a corner of Notting Hill, is the brain child of Andrew Lacey.

Bernd & Hilla Becher’s project to document the industrial landscape of post-war Europe, spread out over five decades, is timeless: photographs of monumental structures that bear no trace of current, past or future events.

The Folkestone Triennial mobilises the past to bring contemporary art into public dialogue about a bright future. Lewis Biggs has curated site-specific works that range from experiments in relational aesthetics to proposals for regeneration.

Spencer Finch has on the wall of his studio a postcard of a watercolour by Turner. Impressed by its dynamic of figuration and abstraction, Finch seems always to have had Turner in mind with his own manipulations of the elements.

An exhibition of new works by highly acclaimed German painter Georg Baselitz is now showing at Gagosian Gallery. In Farewell Bill, Baselitz’ new series of paintings is self-portraiture.

David Bailey is known for his iconic portraits of celebrities, but Bailey’s Stardust at National Portrait Gallery, London, of around 300 pictures reveals the true depth of his work.

Jake and Dinos Chapman have a reputation as the bad boys of contemporary art with their anti-establishment rhetoric, searing critique of their peers and art which aims to offend every human being who comes into contact with it.