Fashion and conceptual art come together, sometimes awkwardly, often provocatively, in the Royal Academy’s third and final annual GSK Contemporary exhibition. Instead of celebrating glamour and excess, designers and artists – as well as those, such as Helen Storey (1) and Hussein Chalayan, who have successfully made a fashion to art crossover - take on big themes: cultural and personal identity, conformity and freedom, globalisation and the environment. The exhibition explores the shifting concerns that have preoccupied these practitioners over the past five decades.

Although there are thematic links between many of the movie posters designed by Bill Gold between 1942 and 2003, especially in the talismanic use of telephones (Dial M for Murder, Klute, The Front Page) and guns (Casablanca, Deliverance, the Dirty Harry films), what’s remarkable is the range of styles he used in creating numerous iconic works. It seems unlikely that the designer responsible for the conventional rendering of James Cagney in patriotic garb in Yankee Doodle Dandy (Gold’s debut) could have conceived the frilly pink collage of My Fair Lady, the blobbed, multicoloured hippie images for Woodstock, and the upside-down nocturnal reflections of Clint Eastwood’s Mystic River (Gold’s last campaign). But he delighted, clearly, in being a visual magpie.

The winner of the National Portrait Gallery’s Taylor Wessing Prize was announced yesterday, and as with most prizes you know there must be an element of compromise when it comes to selecting the shortlist. David Chancellor’s winning portrait of a 14-year-old game hunter from Alabama, mounted on a horse with a dead buck draped across its neck (2), is certainly striking. So too, are the second and third prize-winners - the second, Portrait of My British Wife by Panayiotis Lamprou (9), doubly so, since it reveals more than one might expect to see in the context of this annual award.

Downton Abbey was judged a risk when ITV cleared Sunday nights to accommodate it. It cost a good deal, and harked back to a world and an era which, it might be supposed, a modern television audience would no longer wish to visit. But aside from the pedigree supplied by Julian Fellowes, who had already helped to create one country house in Gosford Park, it had two things going for it: the quality of the cast and the quality of the costumes. On the assumption that its devotees will now be entering a period of mourning, theartsdesk celebrates both in a gallery of images from the set of Downton Abbey.

Downton Abbey was judged a risk when ITV cleared Sunday nights to accommodate it. It cost a good deal, and harked back to a world and an era which, it might be supposed, a modern television audience would no longer wish to visit. But aside from the pedigree supplied by Julian Fellowes, who had already helped to create one country house in Gosford Park, it had two things going for it: the quality of the cast and the quality of the costumes. On the assumption that its devotees will now be entering a period of mourning, theartsdesk celebrates both in a gallery of images from the set of Downton Abbey.

The lens loved Mick. Those child-bearing lips, to use Joan Rivers’s ripe phrase, always came up a treat in photographs. Did it ever love Keith quite so much? Ever since he started creosoting himself in eyeliner and crumbling like an oxidising mummy before our very eyes, he has been the incarnation of the photogenic rock wreck. Once upon a time, though, when The Rolling Stones were at their creative zenith, the Human Riff presented a young and even ingenuous mug to the camera.

Exhibitions about fashion tend to divide the public. Those passionately interested in fashion go to them; everybody else doesn’t. There’s a prevailing view that we already hear enough about top models, superstar designers and their attendant dramas through the media, the high street and the imposition of having to go and buy the stuff, without extending the experience into the art gallery.

Whether you think the weird world of Walter Potter is cute or creepy, there’s little doubt that the Victorian taxidermist, and creator of humorous tableaux in which fluffy creatures enact human scenarios, has acquired some standing in the art world. When his museum collection went under the hammer at Bonham’s in 2003, Damien Hirst, David Bailey, Harry Hill and Peter Blake each bid for valuable items. Now each has contributed to an exhibition that not only recreates part of Potter’s original museum, but invites us to celebrate the quirky art of the outsider artist.

Contemporary art can, unsurprisingly, become dated pretty quickly – the clue is in the name. Another of Damien Hirst’s mirrored cabinets of pills or of Gavin Turk’s piss-takes of Andy Warhol at the Frieze Art Fair in Regent’s Park is hardly the sort of sight which will enthuse hardened art-gallery goers.

The 2010 Brighton Photo Biennial has seen unprecedented numbers of visitors flock to the coast, and tonight will host a talk by one of the most original fine-art photographers working in Britain today. Wolfgang Tillmans will explore his unique and hugely influential approach to photography and the relationship between contemporary art and documentary and will undoubtedly cite his latest projects, the refreshing summer exhibition at the Serpentine Gallery and the recently launched, more audacious event at Liverpool’s Walker Art Gallery.

A near contemporary of the great jazz photographer Herman Leonard, who died last August, Don Hunstein has amassed a formidable collection of images of some of the most indelible names in music, from Miles Davis and John Coltrane to Johnny Cash, Louis Armstrong and Leonard Bernstein. His work with Bob Dylan in the Sixties, when Hunstein was a staff photographer for Columbia Records and Dylan was the visionary folk singer daring to cross the frontier into rock'n'roll, have become an indivisible part of the myth of the Bard of Minnesota.