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Mirror, mirror

No single model of self-portraiture can stand for the experiences of women generally...

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Skythian baba: A painting counter-revolution

Natalia Goncharova, one of the famous originators of Russian avant-garde, is now the subject of a...

The Blackest Square

The fourth 'Black Square' by Kazimir Malevich belonging to Inkombank, which collapse...

Paul Klee: The Nature of Creation

In vast contrast to Tate Modern’s Warhol exhibition earlier this year, the Picasso...

Brit Art from the Fifties: the reality versus the myth

Just after the war, when France had Picasso and Matisse, Giacometti and Existentiali...

Peter Doig 100 years ago

'100 Years Ago' is the name of Peter Doig's current show, the first in London since his Whitecha...

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Return of the Buddha: The Qingzhou Discoveries

In 1996, while levelling the sports field of the Shefan primary school in Qingzhou, ...

Mother and child divided

Professor Gunther von Hagens' 'Korperwelten (Body Worlds): Fascination Beneath the Surface' is at th...

Gerhard Richter: Forty years of painting

The enigma of the German painter Gerhard Richter (b.1932) is finally explored through Robert Storr's...

Richard Demarco's Edinburgh

Edinburgh belongs to a special kind of city deserving of the UNESCO designation as a...

Letter from Poland

Depart Edinburgh Airport BA 1435 at 7.40 am arriving Heathrow 09.15 am....

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Letter from Sydney

The year 2000 in Sydney was a hard act to follow. Every cynic - and there were many ...

The authentic and the twitch

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

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...

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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...

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...

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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...

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

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

The Sociology of Knowledge

The sociology of knowledge is sure to be an eventful area of debate over the next few years...

‘Art & Technology’ on BBC

The series [Art & Technology on BBC] is primarily concerned with two problems—how artists use vari...

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Technology and art 20

On industrializ­ation and machinery in The Red Desert; on 'Ecogame' designed as a continuous intera...

Technology and Art 15: Computer graphics at Brunel

"The potential that was so evident at the 1968 ICA exhibition is still there, but the actuality has ...

Technology and art 8: `The prehistory of the visible'

To read Burnham on vitalist or biomorphic sculpture is to be reminded that there is no apparent corr...

Technology and art 5

The added originality in [Petar] Milojević's technique is that by slight changes to his programming...



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