News & Comment
The Courtauld at 75
The Courtauld Institute of Art in London celebrates its 75th birthday this academic year. Its reputation for excellence is as high as ever, but has it resolved all questions about purpose?
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CONTEMPORARY ART
Art in old places
What can new art add to a historic setting? Three houses, the Louvre and a seaside town provide very different answers.
ARCHITECTURE
Hawksmoor Redivivus
Hawksmoor's genius, barely recognised until the 20th century, is triumphantly confirmed by the newly completed restoration of St George, Bloomsbury.
June 2008
Blog on with the Goncourts
Apollo has launched a blog, for news and comment about the visual arts. Although blogs proliferate, none can yet be ranked with such masterpieces as the goncourt journals.
May 2008
Banqueting with the ancestors
The articles on Chinese art in this issue have been guest-edited by Dame Jessica Rawson, Professor of Chinese Art and Archaeology at the University of Oxford, Warden of Merton College and a member of Apollo's editorial board. Here she reflects on the characteristics of art in China.
April 2008
Old Masters for New Masters
Jeff Koons's purchase of a late-medieval sculpture sugests that contemporary artists hve a subtler understanding of the history of art than their admirers realise
May 2007
Hugging the new
Far from causing shock, Avant-garde artists are now adored by the establishment. is that a triumph, or a sign that their art is a failure?
September 2007
Ancient & modernism
Prehistoric art often prompts the remark, ‘it looks so modern’ – but do contemporary artists agree?
February 2006
Any bright ideas?
Dan Flavin’s light installations, currently at the hayward gallery, london, transform neon tubes into art – but what does a collector do when the bulbs blow and can’t be replaced?
May 2007
A is for Aalto
An Exhibition in London on Alvar Aalto reveals the humane modernity of the finnish architect – but also his weirdness.
September 2007
Empire lines
The Eritrean city Asmara is an intact Italian colonial city. Now a source of national pride, it is a reminder of the high quality of italy’s architecture in the fascist years.
February 2006
Streamlined
If architects ought to learn from machines, why are attractive buses scrapped, and buildings given doorways that trip people up?