Archive - Results from #2970

Published 30/11/-0001

Heaven and Earth: Art of Byzantium from Greek Collections

Start
Prev
95
96
97
98
99
100
101
102
103
104
Next
End

Klara Lidén. Merchants Arch, 2013. C-print, 60 x 45 cm. Courtesy of the artist.

Klara Lidén: The Myth of Progress

Within the myriad forms of political art, it is possible to discern two primary strands. The first i...

Tania Bruguera. Awareness Ribbon for Immigrant Respect Campaign, 2011. Awareness campaign. Metal pins, community meetings, letters sent to elected officials, media. Photograph: Camilo Godoy Courtesy of Immigrant Movement International (web).

Permission Granted Tania Bruguera’s Immigrant Movement International

In January 2008, the Cuban artist Tania Bruguera puzzled visitors to the Turbine Hall at Tate Modern...

Tania Bruguera at the Museum of Modern Art in Rio de Janeiro. The Cuban installation and performance artist was a keynote speaker at the International Committee for Museums and Collections of Modern Art Conference (CIMAM) held in Brazil, August 2013.

Our voice as protagonist – a meeting with Tania Bruguera

The chatter of a roomful of museum workers turned to silence the minute Tania Bruguera walked into t...

Patricia Johanson. Stephen Long, 1968; Burkirk, ny. Paint on plywood, 48,768 x 5 x 1.2 cm.

Patricia Johanson: The World as a Work of Art

The landscape artist and architect Patricia Johanson (b1940) occupies a unique position in her chose...

Guerrilla Girls.  [no title], 1985–90.  Screenprint on paper ,  430 x 560 mm.  © courtesy www.guerrillagirls.com

Art Turning Left: How Values Changed Making, 1789 - 2013

On a single floor of Tate Liverpool, 200 years of art influenced by the Left is exhibited: a big ide...

Honoré Daumier. Lunch in the Country, c.1867-8. Oil on panel, 26 x 34 cm. National Museum of Wales, Cardiff. Photograph © National Museum of Wales.

Daumier (1808-1879): Visions of Paris

In the opinion of the writer Charles Baudelaire, the nineteenth-century French caricaturist and pain...

Paul Klee, Steps, 1929. Oil and ink on canvas, 520 x 430 mm. Moderna Museet (Stockholm, Sweden).

Paul Klee: Making Visible

Paul Klee: Making Visible at Tate Modern is an outstanding exhibition of 130 works by one of the mas...

Chen Rong. Nine Dragons (detail), 1244. Photograph © 2013 Museum of Fine Arts, Boston.

Masterpieces of Chinese Painting: 700-1900

The trouble with the Victoria and Albert Museum’s exhibition Chinese Masterpieces: 700-1900 is tha...

William Kentridge. The Refusal of Time (installation view 1 at The Metropolitan Museum of Art, New York)
2012. Five-channel video with sound, megaphones, and breathing machine (‘elephant’), 30 minutes. A collaboration with Philip Miller, Catherine Meyburgh, and Peter Galison. Jointly owned by The Metropolitan Museum of Art, New York, and the San Francisco Museum of Modern Art Purchase, Roy R. and Marie S. Neuberger Foundation Inc. and Wendy Fisher Gifts and The Raymond and Beverly Sackler 21st Century Art Fund, 2013. © 2012 William Kentridge.

Kentridge: Where Are We and How Did We Get Here?

William Kentridge’s new installation, The Refusal of Time, bewilders this unprepared viewer: I fin...

Mark Bradford. Biting the Book, 2013. Mixed media on canvas, 102 5/16 x 144 11/16 in (259.8 x 367.5 cm). © Mark Bradford. Photograph: Ben Westoby. Courtesy White Cube.

Mark Bradford: Through Darkest America by Truck and Tank

Very rarely does a show of new work by a contemporary artist deliver on its promise more fully than ...

Yinka Shonibare, MBE. Wind Sculpture, 2013. Steel armature with hand painted fibre glass resin cast, 610 x 340 x 80cm (240 1/4 x 134 x 31 1/2in). Copyright the artist. Courtesy of the artist and Stephen Friedman Gallery, London. Photograph: Stephen White.

Frieze Art Fair London 2013: Reaching new audiences

Frieze Art Fair is the UK’s leading commercial art fair and has drawn an international audience of...

Jonathan Gabb talking to Studio International at the opening of his exhibition Opera Rose at A Brooks Art. Photo: Martin Kennedy.

Jonathan Gabb: interview

Using a carefully balanced combination of PVA glue and acrylic paints – the precise measures of wh...

Wang Keping

Ben Brown Fine Arts presents us with the first solo exhibition of Wang Keping in the UK. Considering...

James Abbott McNeill Whistler. Whistler with a hat, 1859. Etching, 283 x 200 mm. The British Museum, London.

An American in London: Whistler and the Thames

“Oh Fantin, I know so little – things do not go quickly!”, wrote James Abbott McNeill Whistler...

Mike Kelley. Deodorized Central Mass with Satellites, 1991/1999. Plush toys sewn over wood and wire frames with styrofoam packing material, nylon rope, pulleys, steel hardware and hanging plates, fibreglass, car paint and disinfectant. Overall dimensions variable. © Estate of Mike Kelley. Images courtesy of Perry Rubenstein Gallery, Los Angeles. Photography: Joshua White/JWPictures.com.

The Mike Kelley Retrospective

Mike Kelley’s retrospective at PS1 is not for the fainthearted. Nor is it for the lighthearted, fo...

Bird pectoral, Popayan, gold alloy, AD100-1600. Copyright the Trustees of the British Museum.

Beyond El Dorado: Power and Gold in Ancient Colombia

Beyond El Dorado seeks to cut through the myth of the golden city, but the reality is no less captiv...

Nick Relph. (What Are) The Means of Coming Back?, 2013. C-type print, framed, 122 x 76 cm. Commissioned by Chisenhale Gallery. Courtesy of the artist and Herald St, London. Photograph: Andy Keate.

Nick Relph: Tomorrow There Is No Recording

This solo exhibition marks a departure from Nick Relph’s 10-year collaboration with Oliver Payne....

Fernand Léger. The City, 1919. Oil on canvas, 231.1 x 298.4 cm. Philadelphia Museum of Art, A. E. Gallatin Collection, 1952. © Artists Rights Society (ARS), New York / ADAGP, Paris

Léger: Modern Art and the Metropolis

Two grey figures walk down a set of stairs surrounded by a mass of buildings, fragments of advertise...

A Traveller in Time, from Standing Stones to the Distant Stars: an intervi...

In the 1990s, Japanese multimedia artist Mariko Mori became known for her performance-based photogra...

Sarah Lucas. Bunny Gets Snookered #1, 1997. Tan tights, plastic and chrome chair, steel clamp, kapok stuffing, wire, 106 x 82 x 81.5 cm. Copyright the artist, courtesy Sadie Coles HQ, London.

Sarah Lucas: Situation – Absolute Beach Man Rubble

Rotting hams, kippers and kebabs; cucumbers, bananas, zeppelins; melons, lemons and fried eggs. Sara...

Elinor Carucci. Feeding Emanuelle From a Plastic Bottle after I Stopped Breast-feeding Her, 2005. Digital C-Type print, 30 x 44 in. © Elinor Carucci/INSTITUTE. Courtesy of the artist.

Home Truths: Photography, Motherhood and Identity

In a new show entitled Home Truths: Photography, Motherhood and Identity, the concept of “motherho...

Master of the Legend of Saint Catherine (c. panel), Master of the Princely Portraits (l. wing), A. van den Bossche (r. wing). Triptych of the Miracles of Christ, between 1491-1495. © Melbourne, National Gallery of Victoria.

The Heritage of Rogier van der Weyden

This autumn, leafy Brussels invites the visitor to a spectacle of detail in oil. An exhibition devot...

Arthur M. Sackler Museum of Art and Archaeology, Peking University, Beijing, China.

Anita Glesta: interview

After I had seen Brooklyn-based artist Anita Glesta’s travelling multimedia installation Gernika/G...

Oliver Cromwell (hung upside down). Highland Council.

Art Under Attack: Histories of British Iconoclasm

These days we take for granted the irony of using destruction as part of art, employed by movements ...

Andy Warhol. Vote McGovern, 1972. Founding Collection, The Andy Warhol Museum, Pittsburgh © 2008 Andy Warhol Foundation for the Visual Arts / ARS, New York.

Andy Warhol: Pop, Power and Politics

Warhol was one of the first artists to recognise the truly spectacular side of politics in the democ...

Kara Walker at the Camden Arts Centre, London on 10 October 2013. Photograph: Martin Kennedy.

Kara Walker: interview

At the opening of Kara Walker's first UK exhibition, we spoke to her about her work, which is a dark...

Daniel Silver: Dig

It might appear that we are miles away from civilisation. In fact, we are standing in the long derel...

Philomene Pirecki at Supplement Gallery, London, October 2013. Photograph: Martin Kennedy.

Philomene Pirecki: interview

Philomene Pirecki has just been shortlisted for the Max Mara Art Prize for Women. In addition to thi...

It’s Modern: The Eye and Visual Influence of Alexander Liberman by Charles Churchward, book cover.

From Power Lunches to Public Sculpture

When former Condé Nast editorial director Alexander Liberman, a fixture at the publishing company f...

Gustav Klimt. Portrait of Amalie Zuckerkandl, 1917-18. Oil on canvas, 128 x 128 cm. © Belvedere, Vienna. Donated by Vita and Gustav Künstler.

Facing the Modern: The Portrait in Vienna 1900

Covering the period during the Austro-Hungarian Empire, 1867 to 1918, Facing the Modern charts the p...

Start
Prev
95
96
97
98
99
100
101
102
103
104
Next
End

Home	About Studio
Archive	Yearbooks
Interviews	Contributors
Video	Cybernetic Serendipity
CyberArt	Contact us