London Exhibitions Closing in August

"The focus on religion is heavy-handed at times – perhaps loving the Spice Girls or Elvis is just not that deep? – and it feels remiss for the exhibition not to question what happens when these obsessions go too far, if they are always healthy, or if idolising celebrities should be seen as a blanket positive thing. Still, Holy Pop! is a joyous celebration of pop culture fandoms, and all their quirky, messy extremes."

TimeOut

"Christo's work is a funny mixture of profound and ridiculous. The car is just a Volvo in a sheet. The main installation looks like Gagosian got some dodgy builders in and they couldn't be arsed to tidy up."

The Guardian

"The word 'visionary' is done to death but the 17th-century Spanish painter Francisco de Zurbarán demands it: he paints supernatural things naturally and natural things supernaturally. Space becomes different in his world, melting distance and erasing the barrier between you and the picture."

The Guardian

"In Anderson's work, the natural world is almost ominously abundant. Greenery seems to suffocate man-made structures, which often appear dilapidated – like ruined temples in a jungle. The sense of melancholy this generates is offset by the pleasure that Anderson evidently derives from manipulating paint. His compositions – some of which flirt, ingeniously, with abstraction – are awash with attractive blotches and drips."

The Telegraph

"But for pure painterly excellence, you won't get much better than Glen Pudvine and Harriet Porter. The former's image of two hands unfolding a piece of paper is stunningly executed. The latter's painting of a small, silver pot is beautiful, hazy, minimal, serene."

The Guardian

"For the past 50 years, Hockney has flitted between these two modes, returning occasionally from noodling to remind us of his gift for direct communication (see his portrait of the performer Divine, the affecting drawings of his ageing mother, or his paintings of the Yorkshire landscape in the 2000s). But, sad to report, it is to the late stages of the jazz tendency that most of this exhibition belongs."

The Guardian

"I've never been a huge Baselitz fan: I found the whole upside down painting thing an affectation and I would have happily fronted a campaign to have all his work shown the right way up so we can see what it's really about. I also think he churned out the same painting for decades. But this is brutally emotional stuff."

The Guardian

"Elsewhere, slender ceramic figures are gathered like pawns on a chessboard, though here they are more crowded, more claustrophobic, not helped by the cages covering their heads. What are we to make of these structures? Devices for trapping fruit-eating pests, or part of a wider system of confinement, of lives hemmed into structures larger than themselves."

TimeOut

"Walking into Tate Modern's huge Tracey Emin retrospective is like walking in on her crying, naked, sobbing and snotty, as if you have stumbled into something painfully private. Don't come here looking for a good time – you won't find it. But come looking for pure, unapologetic, undiluted, full-frontal love, grief, heartache and sadness, and you will end up feeling more feelings than you've probably felt for years."

The Guardian