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,...
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. ...
Fantastical notions and their strange connections
At first glance the works of Paul Etienne Lincoln might be late 18th-century diagrams of eccentric i...
Eyewitness: Hungarian Photography in the 20th century
Brassaï, Capa, Kertész, Moholy-Nagy, Munkácsi
The Sackler Wing of Galleries, Royal Academy o...
In the introductory notes to the exhibition Frida Kahlo & Diego Rivera: From the Gelman Collection, ...
Drummond House, Meigle, Perthshire
The vernacular tradition of rural Britain has preoccupied the majority of builders, clients, archite...
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Ellen Bell: Camera Obscura and Other Stories
Ellen Bell’s work has all too often been side-lined as craft rather than art, and, indeed, the pai...
Enrique Martinez Celaya: The Cliff
The exhibition takes its name from one of its key works, The Giant Cliff (2010), and truth to tell i...
Drawing Fashion: A Century of Fashion Illustration
Drawing Fashion: A Century of Fashion Illustration honours the art dealer Joëlle Chariau’s unique...
Egon Schiele: Self-Portraits and Portraits
The short life of Egon Shiele (1890–1918) has fascinated historians, critics and artists for many ...
Eadweard Muybridge: Shaping and Shifting Our Point of View
Eadweard Muybridge’s photographic practice is so familiar to us; it is easy to forget he began his...
Darren Almond: The Principle of Moments
Darren Almond, in his exhibition at the White Cube Gallery, shares a fascination with the geography ...
Djalkiri: We are Standing on their names: Blue Mud Bay, (2009–2010)
Yilpara on Blue Mud Bay is a special place. Djalkiri is a special word. It has several meanings, one...
Though the curators are keen to stress that this is merely a selection, rather than the definitive c...
Don’t Art, Fashion, Music – Chicks on Speed
In Edinburgh this summer, coinciding with the Fringe Festival at first, and then extending into next...
Fra Angelico to Leonardo: Italian Renaissance Drawings
Andrea del Verrocchio’s, Head of a Woman (1470s) advertises the Italian Renaissance Drawing exhibi...
Frances Walker: Works on Paper
Three exhibitions have been staged to mark the 80th birthday later this year of one of Scotland...
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...
Frozen smiles, melting hearts: Frieze Art Fair 2009 America: New Painting...
In his seminal essay...
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...
Eduardo Paolozzi: The Jet Age Compendium
It seems to be the close season for Paolozziana at the moment, notwithstanding the presence in Tate ...
Futurism at Tate Modern (Futurismo ma no Futurisme)
The most memorable ever Futurist exhibition took place in Venice, as long ago as l986. Entitled Futu...
Designs On at the University of Dundee
The exhibition Designs On at the University of Dundee was conceived as part of the conference V&A at...
Damaged Romanticism: A Mirror of Modern Emotion
The highly idyllic nature of the Romantic tradition in philosophy, art, music, literature and theatr...
Francis Bacon at Tate Britain heralds the artist’s centenary in 2009. It is the first retrospectiv...
Foto: Modernity in Central Europe, 1918-1945
This exhibition reaches Edinburgh during the Edinburgh Festival of Art, having travelled via three U...
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