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Published  30/11/-0001
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Colour and Substance

Bermondsey Street these days exudes a growing calm satisfaction: a local Tate, its own “village fe...

Rachel Howard: Folie à Deux

Rachel Howard is not an artist to shy away from heavy subject matter; sin, suicide, madness, the fra...

Gerhard Richter: Panorama

The enigma of Gerhard Richter is not here resolved by Tate Modern’s new exhibition. Yet the exhibi...

Power of Making

A life-size crocheted brown bear (crochetdermy = due to it resembling taxidermy), a cross-stitched w...

The Spirit of Tariki Visits New York

Fibre is any material that helps to form a connection. It has wide applications in science and indus...

From Timbuktu to Shangri-La

Now that the Alexander McQueen...

A Futuristic Architectural Movement from the Past Speaks to the Present

At a critical moment in urban architectural history, the Mori Art Museum in Tokyo considers the dist...

John Martin: Apocalypse

John Martin: Apocalypse, at Tate Britain is the largest display of his work in public since 1822. In...

Post Office or Postmodern? Postmodernism: Style and Subversion, 1970-1990

'The design for the extension to the National Gallery, London, when finally won in competition by Ro...

From Neon to New Order. Postmodernism: Style and Subversion, 1970-1990

'Some of the best postmodernists are modernists on a holiday from orthodoxy' claimed Charles Jencks,...

Marius Bercea

Studio International spoke to Bercea about the medium of painting and its relationship to history, t...

Barry Flanagan: Early Works 1965

Sculptor Barry Flanagan (1941...

Rothko in Britain

One would not expect an Abstract Expressionist artist to uphold this sentiment;...

Kitaj: Portraits and Reflections

Kitaj: Portraits and Reflections is the first major solo exhibition in the UK of the American artist...

Every Day is a Good Day. The Visual Art of John Cage

In 1952 David Tudor performed a piece by John Cage that existed in the absence of musical notation. ...

The 43 Uses of Drawing

Rugby Art Gallery and Museum’s The 43 Uses of Drawing, curated by the practitioners’ researchers...

Abstraction and Atonality: Wassily Kandinsky, Franti

František Kupka (1871–1957) is generally recognised to be the best-known Czech artist from the 20...

Fantastical notions and their strange connections

At first glance the works of Paul Etienne Lincoln might be late 18th-century diagrams of eccentric i...

Rudolf Steiner and Contemporary Art and Thinking without limits: Inspired ...

Think about a 20th century without Rudolf Steiner...

Michelangelo Pistoletto: The Mirror of Judgment

Michelangelo Pistoletto was a key figure in the development of conceptual art and a founder of the i...

Radical Bloomsbury: The Art Of Duncan Grant and Vanessa Bell, 1905

Radical Bloomsbury at the Brighton Museum and Art gallery seeks to re-evaluate the work of Duncan Gr...

Arctic dreams and climate change. High Arctic: Matt Clark (UVA) and Cape F...

While the Arctic affords us an intense phenomenological experience, the eroded condition of its glac...

Jake or Dinos Chapman

Although the works on display have all been produced within the past year, allegedly in secrecy from...

Eyewitness: Hungarian Photography in the 20th century

Brassaï, Capa, Kertész, Moholy-Nagy, Munkácsi
The Sackler Wing of Galleries, Royal Academy o...

Frida Kahlo & Diego Rivera

In the introductory notes to the exhibition Frida Kahlo & Diego Rivera: From the Gelman Collection, ...

The Omnipotent Magician: Lancelot

The cultural significance of Lancelot Brown, the Northumberland-born 18th-century landscape designer...

Homage to Michael Spens. The Royal Academy Summer Exhibition, 2011

The Royal Academy Summer Exhibition is, and always has been, a major event, a showcase of recent wor...

Peter Zumthor

When is a Pavilion not a Pavilion? Can it not be a seasonal construction? What does it contain? Pete...

Royal Academy of Arts Summer Exhibition 2011: Architecture Room

The Architecture Room is a longstanding and traditional part of the Summer Show and is open for exhi...

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