Some boy on boy titty-twisting gets our attention, Liam O'Brien takes a closer look

Artistic vandalism is a time-honoured tradition; Greek sculpture was razed to the ground way back when, and in the last century the concept has been revived with new strength.

In 2006 performance artist Pierre Pinoncelli defaced Marcel Duchamp's Fountain, chipping it with a hammer. The world's most famous urinal was launched out of the periphery of the twenty-first century's cultural agenda and into the spotlight. In court, Pinoncelli argued that he had reinvigorated the artwork in a post-dada style.

Such vandalism can be avoided by instead re-imagining and reinterpreting classic works. Banksy's exhibition at Bristol's Edwardian Museum and Art Gallery did just that. Not only were anachronistic objects painted into classic paintings, but these were then hung amidst the real work of the Old Masters.

In this spirit, a new exhibition entitled Young Masters, held at the Cynthia Corbett Gallery, Sphinx Fine Art and The Old Truman Brewery, will open on 7 October for one month only. The focus is on young and emerging artists who have reinterpreted work by the Old Masters (think Vermeer, Rembrandt, Goya, Caravaggio).

The painting above is Maisie Broadhead's irreverent 'Nipple Pinch', a take on a work by an unknown author that hangs in the Louvre. The nipple pinch is indicative of pregancy, but in Broadhead's photographic image takes on new life (the Gay Times office remains bemused, but we're using phrases like 'layers of meaning' and 'it's a dialogue between').

Worth a look at the exhibition is Gemma Anderson's work, which playfully renders the natural world. Charlotte Bracegirdle renders known figures in classic portraiture limbless, and Lluis Barba places 'tourist' figures in well-known paintings. A personal favourite is Cecile Chong's interpretation of Willow pattern through modern sculpture, but go see! We must support art that (oh my god) doesn't reside in the Tate Modern.

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