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(Summer 2020)


(Autumn 2019)


(Spring 2020)



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(Summer 2019)

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(Spring 2019)


(Winter 2018)

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(Autumn 2018)


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Issue 14

(December 2016)

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Issue 15

(February 2017)


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Issue 1

(December 2012)


The Art of Destruction: Metzger, Matta-Clark and Bonvicini

In February 2001, the artist Michael Landy gathered together all his belongings, catalogued them and destroyed them. All 7,227 of his possessions - from stamps to a Saab 900 - were reduced to their basic materials and methodically shredded. He called this work ‘Break Down’. ‘Break Down’ came into being through a colossal act of destruction. Since the 1960s artists have cut, crushed, erased, exploded, burned, shot and even chewed up their material in order to explore the limits of art. There is the famous story about the American artist Robert Rauschenberg erasing a drawing by Willem de Koonig and calling it ‘Erased de Kooning Drawing’, thereby turning an act of destruction into a new act of

Food: Heritage and Evolution

Illustration by Anna Seibæk Torp-Pedersen Cuisine is central to the heritage of many people across the world, who draw on national, local and familial traditions whenever they cook and eat. Dishes and delicacies help to define identities and have shaped popular perceptions of countries, from the steadfast sauerkraut of Germany to the classic coq au vin of France. William Hogarth used a side of British beef as a symbol of his nation’s wealth and power in his 1748 painting The Gate of Calais, a less than flattering comment on our closest continental neighbours. Food is undoubtedly one of the most salient and enduring aspects of culture. It is only in recent years, however, that it has been app

The Mind and Practise of Michael Felber

Arctic Father - 22.5” x 30”, colored pencil on paper Since the beginning of the new year I have had the pleasure of engaging in a regular exchange of emails with London-born artist, Michael Felber. Felber now resides in Port Townsend, Washington, just on the coast, north-east of the Olympic National Park. After an engaging and vibrant career Felber has an impressive oeuvre, with a personal fascination to animals and nature. His works have been exhibited across the world and are consistently praised for Felber’s attention to detail and exquisite treatment of animals facial expressions. With this in mind, I would like to share with you an insight into the extraordinary mind and practise of Mic

Returning to the Philippines: Medalla and I

Installation view, David Medalla, A Stitch in Time, 1968 – 2017. Viva Arte Viva, Arsenale, Venice Biennale, 13 May–26 November 2018. Photo: Beatrijs Sterk via The Filipino diaspora’s problem of heritage arises in the west when Eurocentric interpretations of identity choose to marginalise the significance of national origin, particularly for those of us who have spent the majority of our lives away from said background. As a Filipina-American I feel a stronger connection to my Filipino heritage, having been born there to Filipino parents, spoken Filipino first, and holding citizenship my entire life. I consider myself a hybrid o

20 Portman Square, Somerset House: The Buildings of The Courtauld. An Interview with Anthony Robins

Illustration by Tessa Carr Walking into Somerset House for each visit to the library, for each lecture or class, I am constantly grateful for the beautiful surroundings in which I get to study. Amid news of our move to Vernon Square next year, and the ongoing changes anticipated through Courtauld Connects, the importance of buildings to the Courtauld experience seems to be evermore significant. But as you will well know, Somerset House has not always been the home of the Courtauld Institute. To try and understand the role of place in the Courtauld’s heritage, I spoke to alumnus Anthony W. Robins (author, lecturer and tour leader about his time at the Courtauld; and

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The Courtauldian

c/o The Students’ Union

The Courtauld Institute of Art

Vernon Square, 

Penton Rise,



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