Book review: Maker of Dreams, the Mother of them All. Madeleine Vionnet, ...
Since the 1939 closing of her maison, Vionnet has been eclipsed in fashion histories by more colourf...
Beth Fisher: Grisaille Legacy at The Royal Scottish Academy this January is an exhibition of monumen...
A Human Museum Without Walls. Bigger, Better, More: The Art of Viola Frey
Now at its third stop, the Museum of Arts and Design (MAD) in New York City, the multi-city exhibit ...
Andrzej Jackowski: The Remembered Present
Andrzej Jackowski is known for his poetic reveries of dispossession, epic scenes of trees floating a...
Crazy God. Photographs by Yvonne De Rosa
A psychiatric hospital in Southern Italy is the subject matter of Yvonne De Rosa...
Less and More – The Design Ethos of Dieter Rams
The exhibition, Less and More - The Design Ethos of Dieter Rams, at the Design Museum in London is t...
Drawn Together is a London-based group of artists (Maryclare Foá, Jane Grisewood, Birgitta Hosea, C...
Inscription: drawing, making, thinking
Inscription: drawing, making, thinking is the fourth of Jerwood...
Conceptual drawing: recent work by Bernhard Sachs, Mike Parr, Greg Creek a...
In a global context drawing exists irrespective of cultural identity. It is a basic human instinct t...
Hitting a Wall, Finding a Shape: An interview with Gary Hill
Using a curious Internet nickname that plays with a literary reference used in his work, pioneering ...
Gary Hill: Poetics Beyond the Third Dimension
If a word is worth 0.001 pictures, as stated at the entrance of American artist Gary Hill...
A New Look for a New World. Art Deco Complete: The Definitive Guide to the...
After turning the final page in Art Nouveau and Art Deco authority Alastair Duncan's weighty guide t...
GSK Contemporary, Earth: Art of a changing world
The Royal Academy in London, joining with sponsors GlaxoSmithKline, opened this new exhibition on 3 ...
Paul Sandby: Picturing Britain. National Gallery of Scotland, 2009
Paul Sandby (1731–1809) occupies a prominent position in British art of the 18th century in the pr...
Eva Hesse: Studiowork. Camden Arts Centre, London 2009
Currently showing at the Camden Arts Centre are a number of experimental objects or works-in-progres...
Pop Life: Art in a Material World, Tate Modern, London 2009
‘What make[s] you rich, we have been taught by a decade of casino capitalism, is precisely the opp...
Book review: Dangerous Women: The Perils of Muses and Femmes Fatales
Dangerous Women: The Perils of Muses and Femmes Fatales by Laure Adler and...
The Sacred Made Real, National Gallery, London
Spanish art of the mid-17th century achieved a level of naturalism, which in some respects was quite...
A global recession and faltering art market did not make 2009 a great year to wriggle free of the ar...
Sophie Calle: Talking to Strangers
The linguistic games of Take Care of Yourself, a highlight of the Venice Biennale in 2007 are now th...
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Lucy Stein: Creemie Myopic Fables/Group Show: Purpling
In her third exhibition at Gimpel Fils, Lucy Stein’s ‘Creemie Myopic Fables’ challenges the pe...
Frozen smiles, melting hearts: Frieze Art Fair 2009 America: New Painting...
In his seminal essay...
The Unilever Series: Miroslaw Balka, ‘How it is’
Miroslaw Balka has created an environment, a work using light-absorbing material across the walls of...
Book review: Art and Text; Poor. Old. Tired. Horse
The tradition whereby literary works are recited rather than read in silence can be traced to the ba...
Aida Tomescu: Paintings and Drawings
If anything, painting is life. It is one of the very few pure things in life. It has an existence in...
Remains and Remnants. Anselm Kiefer: The Fertile Crescent
In conversation with Tim Marlow, director of exhibitions at the White Cube, Anselm Kiefer mentions t...
Book review: MJ Long, Artists' Studios
This book is something of a rarity today. It comes as a survey of the design of 14...
Grayson Perry: The Walthamstow Tapestry
After more than 20 years making pots Grayson Perry admits to no longer being the na...
Ed Ruscha: Fifty Years of Painting
Ed Ruscha’s oeuvre has been canonised as the output of a modern American master, but it shrugs off...
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