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2019-2020

Time

(Summer 2020)

Cosmo

(Autumn 2019)

Museion

(Spring 2020)

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2018-2019

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Venice

(Summer 2019)

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Islands

(Spring 2019)

Alumnae

(Winter 2018)

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Absence

(Autumn 2018)

2017-2018

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see:one

(2017)

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see:two

(2017)

Boundaries

(2017)

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2016-2017

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Issue 14

(December 2016)

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Issue 15

(February 2017)

2012

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Issue 1

(December 2012)

Online

Professor Debby Swallow's Statement on the UCU Strike

Professor Debby Swallow, the Courtauld's Director and Vice Chancellor, has issued the following statement after a request by the Courtauldian for the Courtauld's management's position on the current UCU strike. "The current dispute between University and College Union (UCU) and Universities UK (UUK), the organisation that represents UK universities nationally, relates to the pension arrangements of those who are members of the Universities Superannuation Scheme. Like pension schemes worldwide, this scheme is under substantial financial pressure and now has a deficit which is not sustainable and is therefore unacceptable to the Pension Regulator. The Courtauld fully recognises the importance

Universities Inc.

Courtauld academics picketing on the first day of the strike. The attack on teachers’ pensions, the cause of the strike, is merely part of a larger system under which the universities have been increasingly marketised and privatised, with dire consequences for students and staff alike. Universities have been thrown into artificial competition with one another, not just over the recruitment of students but also over research and teaching in a blatant divide-and-rule strategy. The Research Excellence Framework is the vastly expensive and unwieldy system that audits our research by panels of experts (who may also be our rivals) which rank pieces of our writing. This has unsurprisingly encourage

Review of the Catalogue 'Jackson Pollock: Blind Spots'

Michael Fried’s essay, ‘Some new category’: Remarks on Several Black Pollocks featured in the catalogue of Tate Liverpool’s exhibition Jackson Pollock: Blind Spots asks us to view Pollock’s work as a continuation in the trajectory of art history. Whilst the exhibition presented Pollock’s paintings from 1951-1953, this review will explore the work displayed in the exhibition in relationship to his textual interpretation. Fried’s essay argues how at the heart of Pollock’s all-over canvases was the attempt to prise line loose from the task of figuration. Through this it can be argued that he extends a precedent set previously by Clement Greenberg, suggesting that Pollock’s work is not the produ

Current Affairs 13.02

Charles I: King and Collector, Royal Academy Until 15th April 2018 King Charles I had one of the most incredible art collections of his time, including Titian, Mantegna, Holbein, Dürer and even commissioning the leading contemporary artists such as Van Dyck and Rubens. However, when he was executed in 1649, his collection was sold off and scattered across Europe. This exhibition reunites the masterpieces of this magnificent collection for the first time, including over 100 works of art, ranging from classical sculptures to Baroque paintings, from exquisite miniatures to monumental tapestries. By showing this great range together, the exhibition demonstrates their radical impact. https://www.

Voices of Transition: Contemporary Art from Myanmar

Htein Lin with a plaster cast of a forearm from ‘Show of Hands’ (2013-ongoing) As both the first Papal visit to Myanmar and the debut show of the Lunn + Sgarbossa collaboration, ‘Voices of Transition: Contemporary Art from Myanmar’, draw to a close this weekend, political unrest continues to ripple through the country and as viewers we are left feeling unresolved and ineffectual. The works displayed in what was a showcase of contemporary art from Myanmar on a scale previously unseen in Europe, confronted the tendency towards vague categorisation of Asian art, all too commonly exercised within the art world. Instead ‘Voices of Transition’ wrestled with the position of the individual native in

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The Courtauld Institute of Art

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London

WC1X 9EW

the.courtauldian@courtauld.ac.uk

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