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he article reviews the exhibition "Barbara Bloom: Works on Paper, On Paper" at Capitain Petzel in Berlin, Germany from March 7 to August 1, 2020, featuring multi-media installation works by conceptual artist Barbara Bloom.

The article reports that the missing Amadeo Modigliani painting "Seated Man with a Cane" had always been with the Nahmad family as the so-called Panama Papers revealed that its under the ownership of the Nahmad's firm International Art Center.

An interview with British artist Tim Head is presented. Topics discussed include Head's creation of the pen-and-ink drawings "The Furies" during the pandemic lockdown, the exhibition "How It Is" wherein Head showcased his works including "Siren 1," and the increasing influence of artificial intelligence on artists' lives. Also discussed are Head's "The Tyranny of Reason" exhibition at the Institute of Contemporary Arts in 1985 and his series of tonal collages on paper.

The article reviews the exhibition "Paper Museums: Moscow Conceptualism in Transit" featuring publications and works by Soviet artists including Igor Chelkorvski, Vadim Zakharov, and Ilya Kabakov at the John Hansard Gallery in Southampton, England, from May 29 to July 19, 2014.

The article discusses the work of artist Sara MacKillop. It is noted that her work often features found objects that relate to the recording and documentation of everyday life. Particular focus is paid to her work on paper, especially to her series of works titled "Faded Paper." It is noted that MacKillop has exhibited with American artist Erica Baum at the Bischoff/Weiss gallery in London, England.

The article discusses the benefits and drawbacks of the electronic archival storage of art education journals as of September 2013. The author argues that electronic storage has a negative impact on art education because the actual feel and look of journals is important for layout and print design study, databases hold partial content of journals, and concerns over the stability of electronic content storage.

An interview with Oscar Murillo, an Afro-Colombian artist, is presented about race and colonialism, cultural and individual displacement and infiltration and the collective experience. Some of the issues he addressed include his multilayered art practice, the individual and collective process of his work, the process of using Japanese double-sided carbon paper for his drawings and Colombian culture as inspiration for his work.

The article discusses artists' creation of deep-time art projects that would last well beyond their lifetimes. An overview on the global climate change problem is provided. Artist Joseph Beuy's 7000 Oaks was started in 1982 and completed by his son, Wenzel in 1987. Also mentioned are Katie Paterson's "Future Library" in which she planted 1,000 trees outside Oslo, Norway in 2014 which will provide paper for 100 books in the future and the music works of John Cage and Jem Finer.

The article reviews the exhibition "Erratics" at MIMA in Middlesbrough, England from June 25, 2022 to October 9, 2022, which features works by artist Lubna Chowdhary, including the installation "Modular 4," the work on paper "Switch" and other mixed-media sculptures.

The article reviews the black-and-white photography and paper book exhibition "Dancing With My Camera," featuring works by Dayanita Singh, at the Gropius Bau in Berlin, Germany.

The article reviews several art exhibitions in London, England including "Assorted Paper" at the Sunday Painter gallery featuring artists such as Leo Fitzmaurice, "The Bureau of Authenticity" by artists Michal Baror and Patrick Hough at Narrative Projects, and "Producing My Credentials" by artist Sophie Jung at Kunstraum.

The article reports on the claim by researcher Scilla Alecci that the Pandora Papers showed that more than 1,600 artworks by artists like Pablo Picasso and Andy Warhol were secretly traded through tax havens.

The article offers art related news briefs. The Great Britain-based Common Practice group of small arts organisations has published a research paper titled "Size Matters: Notes towards a Better Understanding of the Value, Operation and Potential of Small Visual Arts Organisations." Engineer Cecil Balmond has designed a sculpture titled "Star of Caledonia," which will sit at the border between England and Scotland. The Istanbul Biennial art exhibition has opened and will run through November 13, 2011.

The article offers the author's insights on the issues of doctorates (PhD) within the field of fine arts. The author mentions that various discussions presented in the academe focused on having doctorates in fine arts. The author examines a collection of papers with the subject "Research and the Artist" which presents discussions associated to practice-based PhDs in terms of its appropriateness and significance. The author explores the components of the criteria determined for traditional PhDs.

The article offers news briefs related to the art scene in London, England, as of March 2013. The artists Simon Bedwell and Milly Thompson are now represented by the gallery MOT International. A retrospective art exhibition for the artist Friedrich Kuhn will be held at Great Britain-based Herald Street gallery. The 2013 film "The Rag Papers," by the artist Corin Sworn is also reviewed.

The article lists various exhibitions which includes "Revolution on Paper," at The British Museum on October 22, 2009 to April 5, 2010, "Shake It," at the Pump House Gallery on October 7 to December 13, 2009, and the "7th Mercosur Biennial," at the Brazil Porto Alegre on October 16 to November 29, 2009.

Reviews the art exhibition "Apopalyptical," on view at the Houldsworth Gallery in London, England from March 26 to April 24, 2004.

The article reviews an exhibition of the installation artwork "Totaller: 15" Deep Pan Stuffed Crust Portuguese Man O'War" at the Paper gallery in Manchester, England February 28-April 11, 2015 and an exhibition of photography by Mark Adams at the PS Mirabel gallery in Manchester February 26-April 11, 2015

The article reviews two art exhibitions held at the Camden Arts Centre in London, England from April 11 until June 29, 2014: "Life without sheets of paper to be scribbled on is masterpiece," featuring works by the photographer and video artist Moyra Davey, and "Besides," an exhibition featuring works by the artist Phillip Lai.

A letter to the editor is presented in response to the editorial on the Culture White Paper released by British culture minister Ed Vaizey in issue number 390.

This article focuses on an artist, Lucy Skaer, and on his drawings and drawing techniques. Skaer's drawings are like riddles which can be resolved by inventing exquisite corpse-like titles, forcing the disparate elements at least into verbal proximity. Skaer's graphite-based technique is a play between the two-dimensional paper and the believable illusion of three dimensions in her skillfully drafted drawings. Skaer also creates public works in the three dimensional fullness of everyday life and in these works too the artist hovers in her chosen state of in-betweenness and metamorphosis. Like snakes and scorpions, Skaers drawings cling better to the horizontal ground than to the wall. She makes her drawings on the floor, and does not see them from any distance until they are exhibited, until they are forcibly stood up vertically, like bodies brought to life.

The article focuses on the art education in India and the gap between art and discursive practice. The article discusses the establishment of curatorship programs in schools in India, papers at the Delhi Art Fair Forum that discussed art practice through a reliance on discursive theory by curator Chus Martínez and sociologist Ravi Sundaram and the Kochi-Muziris Biennale. The article goes on to discuss the exhibition "Homelands" from the British Council Collection that was curated by Latika Gupta.

The article discusses the research paper "Status and Mating Success Amongst Visual Artists," by the evolutionary psychologist Geoffrey Miller, which claims that the act of producing artwork functions as a mating display and that more successful artists have more sexual partners.

A letter is presented in which Peter Suchin apologizes to Victor Burgin for misinterpreting his paper on art-related PhD's.

The article reports on the announcements concerning the configuration of Italian pavilion for Venice Biennale in Venice, Italy. The pavilion will be configured to function more like a public art gallery, with educational spaces, a bookshop and the essential bar-cafeteria. President Paolo Baratta of the event added that the pavilion will also be home to the paper documents of the Historic Archive of the Contemporary Arts.

The article reports on the public consultation paper issued by the Great Britain Intellectual Property Office (UKIPO) in June 2008, which sought to examine the possible impact of the extension of the Artist's Resale Right (ARR) on the British art market. The UKIPO has been soliciting the views of art market professionals, artists, representatives of artists' collecting societies and from deceased artists' estates regarding the ARR, which was enacted into British law in February 2006.

Highlights the conference on contemporary art entitled "The Art of the Encounter," which took place at the Whitechapel Art Gallery in London, England on May 22, 2004. Speakers at the conference; Topics discussed at the conference; Information on the paper delivered by Claire Bishop.

The article discusses the role of discursive frameworks in interpreting and understanding artworks, focusing on issues arising from interruptions of the standard art industry process such as works that are accidentally thrown away or lost. Topics include the social implications of contemporary art being mistaken for garbage, the meaning of an artwork's physical materials, and the mainstream media's perception of the discourses of the art world.

The article focuses on the national copyright laws implemented to protect archiving artists' works and related material. It notes the amendment of international and national copyright laws to protect the economic rights of authors and their estates against digital technology abuses, and at the same time to allow the public a measure of digital access to such material.