Photography

"In that regard, and in staking her claim as an active participant in how she was perceived during her lifetime, it's a success. But Monroe is so chameleonic, so charming, so conscious of audience and image that – between star and photographer – we only get an occasional glimpse of the human behind the pictures."

"As an exhibition, it's a leaf through a scrapbook rather than a comprehensive survey. Summers run together, the days seem long and hazy, the irises are always in bloom. I left this evocative and convivial show craving ratatouille, resolving to plant irises and level the earth at the back of the garden for a greenhouse of my own."

"Ultimately, there's a slightly overwhelming quality to this exhibition: the walls are covered in potted biographies, in who's who of US photography, many of them represented by just one or two images. It's telling so many stories at once. But that means that everyone who visits will find something to delight in, as they pull out faces from a crowd of varied, jostling, unsettling perspectives on American life."

"These were revolutionary photographs at the time – and they still feel new in their search to express the inexpressible. The dimly lit, subterranean gallery keeps you cocooned in this elegiac, brooding atmosphere. Kawada is drawn to images that trace the extremities of the Earth, the visible outer edges of our existence – the sky, the horizon, water, burning suns and scorching fires."

"It's outer space, distant stars, planet Earth, the birds and bees and trees all right here, in this exact moment. It's a portrait of you in the universe, a picture of its vastness and your own little place in it."

"In a manifesto-like move, all three of this summer's big exhibitions at Tate Modern celebrate an individual female artist; the others are Tracey Emin and Frida Kahlo. This is by far the best."

"It is a worthwhile endeavour, searching for a contemporary conversation for Murtha's work, but Close to Home feels quite far off the mark. That Murtha and Ryniewicz are outstanding photographers is indisputable; that they cohere effectively in this exhibition is less convincing."

"After centuries of colonialism and exploitation, there's just so much anger and pain here. This show isn't just about the earth and memory, this is art as a form of aesthetic resistance. It's hard not to see these ideas of stolen land and colonialism through the lens of Trump's regime with its ICE raids and travel bans."