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The authentic and the twitch

Increasingly, we now seek to verify what is presented as 'real': we are wary of 'sim...

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Will Maclean: Driftworks

Will Maclean’s exhibition, ‘Driftworks’ at Dundee Contemporary Arts (24 November 2001 – 3 Fe...

Letter from Shanghai

Ever since the Treaty of Nangking opened Shanghai to foreign trade in 1842, the city...

Frank Auerbach

Frank Auerbach's career is celebrated at the Royal Academy in all the ways in which this institution...

Frank Auerbach: Paintings and Drawings 1954-2001

The paintings on show at the RA have an effect that it would have been impossible to anticipate; the...

Michael Andrews revisited

If there was ever a clearer purpose and definition of the respective rationale behind the division o...

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Letter from Stockholm, September 2001

The newly opened memorial for Raoul Wallenberg (1912-1947) is a significant event in Stockholm...

Patrick Heron: the growing legacy of genius

The work of Patrick Heron is bound up with what is probably the most crucial series of events in...

Ken Kiff: obituary

The world of the imagination, like that of the dream has attracted many twentieth century artists, f...

Apocalypse: Beauty and Horror in Contemporary Art

The exhibition contains the work of thirteen artists (or partnerships) allocated thi...

ARCHIVE: Mario Merz

Contemporary online art journal with reviews, analysis and comment...

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On Purpose: An enquiry into the possible roles of the computer in art

This is not another article about ‘computer art’...

Venice Biennale: the British five

“... this year’s selection of Caro, the Cohens [Bernard Cohen, Harold Cohen], Denny, and Richard...

An interview with Marcel Duchamp

Marcel Duchamp '...The whole of modern art—the Impressionists, the Fauves, the Cubists—the whole...

Venice Biennale: choosing the artists

“...in 1948, [at the Venice Biennale] ...Henry Moore walked off with the major Sculpture Prize...t...



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