Archive - Results from #480

Published 30/11/-0001

Computer-Aided Three-Dimensional Interactive Application (CATIA) unlocks the magic that enables Fr...

On the western, landscaped edge of Dundee city, overlooking the Tay Estuary, Frank Gehry's very late...

Daniel Libeskind won the competition to build the Felix Nussbaum Museum in Osnabrück, Germany...

This compact and beautifully illustrated book concentrates on the essential aspects ...

Two new exhibitions of new work by Frank Stella recently opened in London and New York....

I was in Memphis, Tennessee earlier this year to lecture on Charles Rennie Mackintosh and found myse...

David Hockney: Painting on Paper at Annely Juda concentrates on the artist's dynamic new use of wat...

Australia is often out of synch with much of the rest of the world. The progressive Whitlam Labour e...

Over the summer (19 June—8 September 2002) the National Gallery, London showed Fabric of Vision: D...

David Blackburn's exhibition at the Hart Gallery in London coincides with the publication of The Sub...

Daniel Libeskind's new building, an adjunct to the Imperial War Museum in Lambeth, South London, is ...

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

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

The Brazil of the start of this period was scarcely realised in the recent Tate Modern extravaganza ...

Ed Ruscha is 63, and Oklahoma born, but the coolest of cool Californian...

Dan Flavin's work is exemplary. Of what? Yet, he preferred to call his works simply 'proposals', rat...

The creative process evolves from personal experience, formal education, a dialogue with art from th...

Eduardo Paolozzi, whose current exhibition at the Tate Gallery is, surprisingly, the first large-sca...