You can only marvel at the family intrigues that virtually closed down the legacy of photographer Erwin Blumenfeld in the years following his death in 1969. "Destroy, destruct, separate, divide,” was the emphatic double-phrased imperative with which one of his granddaughters described the “family legacy” in The Man Who Shot Beautiful Women, the BBC Four documentary that’s itself the work of another descendant, grandson Remy Blumenfeld, who wrote and produced this film by Nick Watson.

Mariele Neudecker is the lead artist of this year’s HOUSE, a festival for the visual arts which is now in its sixth year and which runs parallel with the Brighton Festival. She's a fitting choice: an immersive exhibition in a beautiful wreck of a Regency house by the sea complements her long-held fascination with the watery sublime.

Every time you turn a corner, he’s there, on yet another monitor. Either the exhibition curators have a sense of humour, or Alastair Campbell really is the last word on propaganda, a subject about which the British Library has mounted an excellent and occasionally provocative exhibition.

Sixty years of hard work, encapsulated in 90 drawings and a handful of thickly encrusted paintings, by the distinguished, obsessive, single-minded octagenerian artist Leon Kossoff (b 1926) vividly set out a passionate attachment to a simultaneously immutable and ever changing London. An East Ender, Kossoff has had several subjects: he has painted people, and has continually drawn after the Old Masters, first visiting the National Gallery as a schoolchild. His drawings after Poussin were exhibited at the National Gallery.

After the marvellous Great Thinkers: In Their Own Words, the BBC has once again rummaged through its documentary archives, this time to see what artists have to say for themselves. Artists are often not the most loquacious breed, which is why they communicate best in the language of images and objects. But it can certainly be instructive to get the lowdown straight from the horse’s mouth, even if it ends up being all performance and no insight.

With their curious juxtapositions and scrambling of pictorial space a dream-like atmosphere is conjured in Mamma Andersson’s paintings. Her scenes are often confined to the domestic or everyday realm, but, even when peopled, suggest something closer to still life than real life. Or perhaps stilled-life. The Swedish painter (Mamma is a nickname), now in her 50s, received welcome exposure in the UK with her Camden Arts Centre retrospective in 2007. This latest exhibition is, I believe, amongst her strongest work yet.

Down by the seaside, an array of rather lumpen large naked women are marching, posing, reclining, and even rolling over along the walls of the new Jerwood Gallery, delineated by William Scott (1913-1989). Scott’s centenary is being commemorated with an array of exhibitions and publications in Britain and America, and the market too is revving up with the publication of a four-volume catalogue of his oil paintings.

Ellen Gallagher is obsessed by the issue of black cultural identity; but if that sounds tedious or tendentious, think again. She explores her theme in work that is so varied, so beautiful and so humorous that the furrow she ploughs seems more like an endless opportunity than a narrow limitation.

Saloua Raouda Choucair began her career as a painter, initially studying under Lebanon’s two leading landscape artists, Mustafa Farroukh and Omar Onsi. In the late 1940s, she trained in the studio of Fernande Léger while studying at the Ecole des Beaux-Arts in Paris. Her exposure to art in her native Beirut would have given no hint of the vibrant modernism she would embrace, albeit several decades after Europe had been all aflush with the new.

When I visited Rachel Whiteread two years ago, there were two old sheds gathering dust in her basement as though waiting to be loved and put to use. Why was she cluttering up her studio with such large and intrusive objects, I wondered? “Things fester,” she told me by way of explanation. “I like to mull things over, so they might lie about for years. It’s to do with me noticing them; they need to relate to my train of thought and investigation.