A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Index: P

  • Paci, Adrian review by Eliza Williams 32/306
  • Packer, William review of Robbie etc 10/11; profile by Bernard Denvir 4/25; A Slice of late Seventies Art 3/34; profile of Bernard Denvir 3/69
  • Page, David Art Education 32/59
  • Paik, Nam June 50 min. with, by Jonathan Benthall 7/121; obituary 19/295
  • Painter, Colin The Absent Public 9/39; Art Education 31/120; Art in the national curriculum 35/152
  • Painting & Photography feature by Mark Prince 1/260
  • Painting Lab review by Alex Farquharson 34/225
  • Painting of Modern Life review by JJ Charlesworth 28/311
  • Painting on the move see feature by Andrew Wilson 12/260
  • Painting Paintings see David Trigg
  • Painting Pictures: Paintings & Media in the Digital Age review by Axel Lapp 35/265
  • Painting Still Lives see Marcus Verhagen
  • Pakenham, Jack review by Brian McAvera 22/122
  • Palace of Projects Ian Hunt on 9/216
  • Palaces of Art: Art Galleries in Britain review by Tim Clarke 20/154
  • Palaces of Culture The Great Museum Exhibition review by John Glaves-Smith 20/112
  • Paladino, Mimmo review by Hetty Einzig 12/56
  • Pale Carnage review by Lucy Steeds 23/305
  • Pale, From Beyond the (IMMA) review by Robert Garnett 32/183
  • Palermo review by Jill Lloyd 16/85
  • Palermo, Blinky review by Mark Harris 36/266
  • Palestine, Letter from see Sally O’Reilly 35/301
  • Palmer, Judith review of Judith Dean 37/304
  • Palmer, Roger review by Mark Durden 34/190
  • Panacea: the art of wellbeing review by Jennifer Thatcher 25/ 289
  • Panamarenko review by Caryn Faure Walker 24/169; letters 39/172; Deborah Schultz on 13/234
  • Pane, Gina review by Catherine Grant 41/253
  • Panting, Lisa review of Tomoko Takahashi 36/246; profile of Gillian Carnegie 20/250
  • Panting review by Dan Smith 26/259
  • Paoletti, John T review of Richard Long 4/101, The New Sculpture 14/136, MOMA High and Low 3/141
  • Paolini, Giulio review by Sarah Kent 20/7
  • Paolozzi, Eduardo review by Duncan Macmillan 16/25; Working as an artist Part 1 33/36, Part 2 32/37; Paolozzi’s Underground 12/94; obituary by Fiona Pearson 17/287
  • Papanek, Victor Design for the Real World, book review by Peter Dormer 19/90
  • Papps, Joel: goodpasture’s review by Dan Smith 28/310
  • Paranoia review by Andrew Hunt 18/303
  • Pardo, Jorge see feature on artist’s fascination with design by Alex Coles 7/253; review by Michael Archer 25/ 273
  • Para-Cities & Paradigms see Michael Corris
  • Parades and Processions review by Anna Dezeuze 27/328
  • Paris France Liam Gillick on 27/140
  • Paris in Brooklyn review by Michael Wilson 40/258
  • Paris Post-War review by Mark Gisbourne 15/168, Toni del Renzio 17/169
  • Paris and province Sarah James 43/316
  • Parisien(ne)s review by Ian Hunt 30/204
  • Parker, Cornelia review by Margaret Garlake 19/128, 28/132, Mary Anne Francis 19/151, 18/152, Cathy Courtney 29/165, and Tilda Swinton, review by Chris Short 25/190; review by John Tozer 29/201; inserts in Nature, review by Stephen Bury 39/217, Maria Walsh 33/262, David Briers 26/301, David Barrett 32/311
  • Parker, Graham review of My Eye Hurts 44/230, Video Positive Zero: The Other Side of Zero 51/236, Manifesta 3 26/239, Tabley 41/240; ‘Go West Young Man’ on Double Feature (Nick Crowe and Gary Hill) 9/242; review of Michael Shamberg, Paul Housley 27/244, Richard Deacon 38/247, The International Language 39/248; review by Martin Vincent 31/251; review of Christoph Girardet and Matthias Müller 32/255, Further up in the air 36/261; New York Round-up 37/ 273 ; Forced Entertainment: feature on rock, ritual and repetition 11/ 276 ; review of Extreme Abstraction 32/ 290; profile of Sam Lewitt 24/304 profile of Vlatka Horvat 22/326; Fair Use (Notes from Spam), review by Sally O’Reilly 34/332
  • Parker, Rozsika Feminist art practices 16/43; and Griselda Pollock, Old Mistresses: Women, Art and Ideology, book review by Sandra Harrison 25/59
  • Parliamentary report see Artlaw
  • Parr, Jon Selected Books Received 1997 48/212
  • Parr, Martin review by Peter Dormer 18/45, Julian Stallabrass 19/135; The Phone Book, review by David Chandler 40/262
  • Parreno, Philippe review by Martin Herbert 33/306
  • Parrino, Steven obituary by Michael Corris 15/ 285
  • Parris, Janette review by Nick Crowe 40/253
  • Parry, Eugenia text of Luc Delahaye, History, review by Gilda Williams 42/266
  • Parsons, Betty interview by David Coxhead 5/22
  • Parsons, Jonathan profile by John Tozer 28/242; review by Morgan Falconer 29/262
  • Part Object Part Sculpture review by Mark Harris 29/293
  • Participation in art see Dave Beech
  • Pasmore, Victor interview by Mel Gooding and Peter Townsend 11/146; review by Simon Morley 38/191; interview by Cathy Courtney 40/191; obituary by Margaret Garlake 23/214
  • Pass the Time of Day review by David Barrett 21/ 284
  • Paterson, Toby review by Sarah Tripp 33/267
  • Patha, Catharine and Morton, Tom Anyway , review by Bruce Haines 41/ 276
  • Patrick, Keith review by Margaret Garlake 18/64
  • Patrick, Martin review of art in Poland 38/220; book review of Robert C Morgan (ed), Clement Greenberg: Late Writings 41/269; book review of David Summers, Real Spaces: World Art History and the Rise of Western Modernism 41/ 275 ; feature on Rock and Art 1/ 276 , feature on Laurie Anderson 1/ 284 review of Sydney Biennale: Revolutions – Forms That Turn 20/319
  • Pattern Recognition review by Stephen Lee 28/330
  • Patterson, Richard review by Andrew Wilson 32/188
  • Patterson, Simon review by Ian Hunt 35/179, Cathy Courtney 42/179, Ian Hunt 29/195; interview with Ian Hunt 1/ 288 Seeing the World Askance: interview of John Baldessari 1/331
  • Patton, Sharon F African-American Art, book review by Niru Ratnam 52/222
  • Paul, Kate Journal, book review by John A Walker 34/213
  • Pavilions see feature by Alex Coles
  • Pawson, Mark review by Clive Phillpot 45/229
  • Payback 2001: DACS see Artlaw
  • Payne, Oliver & Relph, Nick review by Peter Suchin 25/ 290
  • Pearman, Hugh book review of Jes Fernie (ed) Two Minds: artists and architects in collaboration 38/297
  • Pearson, Fiona obituary of Eduardo Paolozzi 17/ 287
  • Pearson, Nicholas The ‘Specialness’ of Arts and Artists 3/21; The Bristol Sample 16/23; The economic situation of the visual artist 8/95
  • Peckham Experiment, The review by Dan Smith 29/332
  • Pécoil, Vincent Brand Art: feature on art after Warhol 1/265; Op Stars: feature on op art 7/270; Abstraction and Appropriation: feature 7/ 285
  • Peel, Michael review by Peter Dormer 28/57; letters 20/80; review by Cathy Courtney 28/164
  • Pels, Marsha see feature by Barbara Pollack 1/253
  • Peng, Shan review of Hew Locke 33/320
  • Pennell, Jacqueline review by David Barrett 32/205
  • Penny Dreadfuls review by Gilda Williams 47/253
  • Penone, Giuseppe review by Andrew Cross 16/171, Barry Barker 12/186
  • Penrose, Roland The Work of Joan Miró 3/68; For Roland 2/76
  • Pepper, Andrew Holograph, visual medium or cheap trick? 9/122
  • Percent for art Roland Miller 26/144, Gary Power 23/152; Artlaw 35/161; case of Liliane Lijn Artlaw 46/186
  • Percy, Christine Craft and Design 31/114
  • Perejaume review by Jeffrey Kastner 21/170
  • Performa05 review by Helena Blaker 40/293
  • Peri, Peter review by Margaret Garlake 17/103; letters 25/104
  • Permaculture review by Daniel Jewesbury 27/265
  • Permar, Roxane 20 Moscow artists 9/101; Perestroika, Glasnost and Art: Moscow 1988 10/121; letters 25/124
  • Perret, Mai-Thu, Carron, Valentin, review by Marcus Verhagen 41/296
  • Perry, Colin review of Stuart Brisley: Crossings 26/315, Adel Abdessemed – Trust Me 25/316, Emily Wardill 32/320, Martin Beck 25/321, Presque Rien II 31/322, Darcy Lange 26/323, Tate Triennial: Altermodern 25/324, Ashok Sukumaran 35/326, Falke Pisano: Figures of Speech 30/327; Reel to Real: feature 1/328; review of Nicolas Moulin 29/328, Radical Nature: Art & Architecture for a Changing Planet 1969-2009 23/330, Chen Chieh-Jen 32/332 Perry, Gill Women Artists and the Parisian Avant-Garde, book review by Monica Petzal 41/191; review of Roni Horn 34/307
  • Perry, Roy on conservation 5/139
  • Personal Effects review by John Tozer 26/220
  • Perspective 2000 review by Daniel Jewesbury 22/240
  • Pesch, Martin text for Carsten Nicolai, Autopilot, review by Dan Smith 48/268
  • Pessoli, Alessandro review by Alicia Miller 32/ 288
  • Petherbridge, Deanna Patronage and sponsorship 3/38, 38/42, 27/45, 30/48, 27/50; Commissions 31/52, 28/53, 29/68; Joint Games of Chance 6/53; Art and Architecture: supplement ed 56; Just a normal anarchist 3/61; Hunting, Gathering and Shaping 12/62; John Moores Exhibition 13 9/63; review by John McEwen 11/64; A project in Portsmouth 12/78; review by Margaret Garlake 18/107; (ed) Art for Architecture: A handbook on commissioning, book review by John Willett 28/114; Making Space - Art Galleries beyond the Gallery 27/115; Paris Muses 22/116; Da Da Deconstruction Lives: The International Symposium on Deconstruction 1988 8/117; The Possibility and Problems of Permanence 7/118; A Moment in Feminism: Feminisme! C’est Moi 6/123; The Russian Avant-Garde and Architecture 21/124; letters 22/125; review by Margaret Garlake 23/133; book review of R W Ferrier (ed) The Arts of Persia28/136; Judgement against Petherbridge 2/139; book review of Thomas Metcalf, An Imperial Vision: Indian Architecture and the Raj 24/140; letters 16/201
  • Pettibon, Raymond review by Alex Farquharson 51/239, Clare Manchester 33/250 , Gilda Williams 30/ 273
  • Petty Crimes: Contemporary Images of Childhood Play review by Maria Walsh 49/236
  • Petzal, Monica review of Agnes Martin 15/6, Robert Ryman 14/12, Susan Hiller 22/17, Evan Hesse 15/27; book review of Germaine Greer, The Obstacle Race: The Fortunes of Women Painters and Their Work 28/33; review of Carolyne Kardia 11/37, Brice Marden/Robert Mangold 10/47, 13 British Artists in Aachen 7/54, Prunella Clough/Gillian Ayres 12/57, Bruce McLean/Tony Cragg/English Expressionism 18/86, Harkness Fellows/Eileen Cooper/Louise Blair 15/87, Jennifer Durrant 15/88, Jean Michel Alberola/Michael Sandle/Wols 18/88; book review of Gill Perry, Women Artists and the Parisian Avant-Garde 41/191
  • Phaophanit, Vong review by Niru Ratnam 32/216
  • Phelan, Peggy (survey), Reckitt, Helena (ed) Art and Feminism, book review by Cherry Smyth 47/251
  • Philipsz, Susan profile by Niamh Ann Kelly 24/260
  • Phillips, Andrew Charitable Status, book review by Adrian Barr-Smith 21/37
  • Phillips, David Exhibiting Authenticity, book review by David Barrett 44/221
  • Phillips, Rodney and Clay, Steven (eds) A Secret Location on the Lower East Side:Adventures in Writing 1960-1980, review by Cathy Courtney 44/225
  • Phillips, Tom A Humument, book review by Norbert Lynton 32/43; Dante’s Inferno, book review by Norbert Lynton 28/89; review by Margaret Garlake 15/105
  • Phillips, Tony review by Roger Malbert 23/150
  • Phillpot, Clive An insular view 1/1; review by Cathy Courtney 37/94, 29/99, 32/102, 30/176; review of Livres d’artistes: l’invention d’un genre 48/209, Henri Chopin 38/214; and Cornelia Lauf, Artist/Author: Contemporary Artists’ Books, review by Cathy Courtney 38/215; review of Helen Douglas, Between the Two, and Peter Downsborough, Pose50/216; obituary of Dieter Roth 20/218; review of Mark Pawson 45/229, Donna De Salvo & Catherine Gudis, Ray Johnson: Correspondences, Lightworks Magazine 55/239, Monica Ross, valentine 46/247; obituary of Ian Breakwell 19/ 292; review of Ed Ruscha 26/295
  • Phoca, Sophia review of Mary Ellen Bute 37/319; book review of Stuart Corner (ed.) Film and Video Art 39/328
  • Photographic Object, The review by David Ryan 28/327
  • photographing art collections see Artlaw
  • Photomontage Now review by Genevieve Fox 25/149
  • Photo-reclamation, new art from Russia review by Susan E Reid 31/179
  • Photoshock see Deke Dusinberre
  • Physical Evidence review by David Lillington 30/223
  • Picabia, Francis review by Mel Gooding 14/120
  • Picasso, Pablo review by Francis Frascina 3/49, Toni del Renzio 6/49, 17/100; review of Late Picasso by Deke Dusinberre 14/117; review of Picasso and Braque by David Lomas 21/135; On Classic Ground, review by Julian Stallabrass 23/138; Françoise Gilot on 21/144; review by Toni del Renzio 3/174, 26/175
  • Picazo, Gloria (ed) Nómadas y Bibliófilos, concepto y estéttica en los libros de artista (with text by Johanna Brucker, Lucy R Lippard, Nancy Princenthal and Anne Moeglin-Delcroix), review by Andrew Wilson 33/271
  • Pick, John The Pound Made Flesh: examination of the Policy Studies Institute Report 4/124
  • Pictura Britannica review by Courtney Kidd 33/211
  • Pictures Generation, 1974-1984, The review by Morgan Falconer 25/327
  • Pictures of Lily review by David Burrows 35/211
  • Pictures of Pictures review by Eddie Chambers 36/231
  • Pierson, Jack review by Mark Sladen 57/200 review by Roger Cook 22/316
  • Pietsch, Hans-Dieter review by Margaret Garlake 17/92, 18/121
  • Pigott, Hadrian profile by David Barrett 30/183; review by Erika Lederman 46/187
  • Pigott, Hadrian and Robinson, Hamish Rifiuti: Rome July 2005, review by Stephen Bury 35/295
  • Pil and Galia Kollectiv review of David Shrigley’s Worried Noodles 39/314
  • Pimlott, Mark review by Mark Gisbourne 39/193
  • Pinkney, Tony (ed) The Politics of Modernism, book review by Philip Dodd 33/132
  • Pioneers of Modern Furniture review by Paul Overy 17/147
  • Piotrowski, Piotr On the ethos of the Polish artist 11/103
  • Piper, Adrian review by Eddie Chambers 13/152, Piers Masterson 32/178, review by David Lillington 30/259
  • Piper, John review by Allen Davies 27/13, John Glaves-Smith 20/28
  • Piper, Keith review by Margaret Garlake 21/79, Conor Joyce 20/153, Piers Masterson 31/188, Eddie Chambers 43/209
  • Pippin, Steven review by Melissa E Feldman 30/225
  • Pisano, Falke: Figures of Speech review by Colin Perry 30/327
  • Pistoletto, Michelangelo review by Liam Gillick 20/150
  • Pitt, Alex on copyright 17/166
  • Pittman, Lari review by Stuart Morgan 26/218, Eliza Williams 30/ 281
  • Places in Mind review by Daniel Jewesbury 45/242
  • Plackman, Carl review by Allan Davies 14/22; obituary by Margaret Garlake 16/274; review by David Briers 33/304
  • Planet Finance: Falling to Earth Richard Grayson 39/327
  • Playback review by Maxa Zoller 30/313
  • Plastic review by Robert Garnett 60/200
  • Platt, Michael review by Piers Masterson 32/177
  • Platzverfuhrung review by Greg Hilty 16/159
  • Playlist review by Sarah Harrison 20/ 275
  • Playmaker, The see John Slyce
  • Plaza Suite review by Eliza Williams 31/ 279
  • Please Touch Projects and SCP review by Deborah Schultz 40/233
  • Pleasure of Aesthetic Life, The review by Valerie Reardon 29/202
  • Pleasure & Pain see Marcus Verhagen
  • Plensa, Jaume review by Barry Barker 12/186
  • PLOT09: This World & Nearer Ones review by Kathy Battista 18/329
  • Plowman, John Twilight Shift, review by Stephen Bury 35/295
  • Plug-In: Unity and Mobility review by Michael Corris 37/249
  • Plywood Utopias see Mark Wilsher
  • Poland review of art by Martin Patrick 38/220, film and video by Marek Wasilewski 40/220
  • Polemic Felicity Allen 44/224; Peter Kennard 45/235; Eddie Chambers 54/236; Julian Stallabrass 48/240
  • Polemics Conrad Atkinson, An exhibitor answers criticisms of ‘Art for Whom’ and ‘Art for Society’ 23/19; Robyn Denny, A Reply to Peter Fuller 21/20; Art & Language, On the Recent Fashion for Caring 22/20; Oh God, Oh Ulster 21/22; Paul Overy, The Specialness of Art and Artists; Michael Daly, A Post-Modernist Programme 30/23; Philip Corrigan, Untitled 1979 29/24; Glenn Sujo, The British Sample and the Gulbenkian Enquiry; Stephen Willats, Working with the Work of Art 29/25; Art & Language: Artists and Philosophers 33/26; Guy Brett, Just What is Modernism? 32/32; Marcus Reith-Roberts, A note on narrative painting 33/38; Anthony Hill, Autoscopy 30/39; Jeffrey Steele, Closing the dossier on P & O 30/40; Michael Newman, What Happened to History Painting? 35/43; Catherine Morley, Against a theory of Expression 26/44; Michael Newman, Closed Circuits 32/51; Krzysztof Cieszkowski, The Shock of the Real 31/52; Michael Sandle, Art and Architecture 26/57; Rasheed Araeen, Come on, cheer up! 29/59; Michael Newman, Irony and the Amazonians: Post-Modernism in the Media Jungle 30/61; Stuart Brisley, John Stezacker 29/62; Glyn Banks, In Defence of Common Knowledge, Post-Modernism in Architecture 23/63; David Boland, Moral values in art 28/65; Iain Biggs, An honourable occupation? 28/68; Ian Edmonds and Alan Shipway, Recession pictures 30/71; Glyn Banks, Any Old Irony 32/72; John Roberts, Making Modernity Work 25/76; Ian Edmonds and Alan Shipway, Opportunism, Powerlessness, Greed, Apathy and Fear 30/78; Glyn Banks, Try Another World Part 1 27/80, Part 2 31/81; Giles Auty, Tastemaking 32/82; Ian Edmonds and Alan Shipway, Reading Writing (A Documentary) 29/84; Anthony Hill, An imaginary letter and fifteen comments 31/85; Alan Smith, Art in Security 32/86; Fay Brauer, Art in Aspic: A Man-made Preservative? 26/87; Anthony Hill, The against comes before the fore 25/88; Ian Edmonds and Alan Shipway, Reading Writing (A Documentary) 23/90; Anthony Hill, Pointe Finale 26/91; John Roberts, German Art in the Twentieth Century, A Look at Its Context 30/92; Andrew Brighton, Helen Gotitright, or What should be done? 30/96; Alan Shipway, New age 29/101; John Roberts, Art and value 24/103; Oliver Siskice, Still-life painting 24/107; Jeff Instone, Notes on the Cy Twombly exhibition catalogue 30/109; Jonathan Watkins, The Curator as Artist 27/111; Andrew Brighton, What Has Happened and What Is Happening 37/112; Brian McAvera, Gormley, TSWA 3D and Derry’s Walls 31/116
  • Polish art 11/103
  • Politics of Images review by Kathryn Salomon 37/142
  • Polke, Sigmar review by Barry Barker 3/184, review by Michael Wilson 34/243; see Patricia Bickers
  • Pollack, Barbara ‘The Killing Machine’ on David Wojnarowicz 1/224; ‘The Fame Game’ on Fame After Photography 1/230; ‘Babe Power’ on postfeminist art 7/235; review of Whitney Biennial Internet art 58/236, Martha Rosler, Barbara Kruger 34/239; Salerooms 59/228, 59/232, New York salerooms 50/243; review of Paul McCarthy 22/245, Collaborations with Parkett: 1984 to Now, 48/247; Fascinating Fascism? feature on; MacDermott & Gough, Collier Schorr, Marsha Pels, Mirroring Evil: Nazi Imagery/Recent Art 1/253; letters 9/254, 19/255, 15/256; review of The Short Century: Independence and Liberation Movements in Africa 1945-1994 23/256, The Multiples and Editioned Work of Jenny Holzer 46/259, Drawing Now: Eight Propositions 35/263
  • Polli, Andrea & Gilmore, Joe review by David Barrett 29/ 287
  • Pollock, Charles review by Vivien Rothwell 14/26
  • Pollock, Griselda book review of Pamela Gerrish Nunn, Victorian Women Artists 26/113; on Clement Greenberg 14/178; letters 25/179; (ed) Generations and Geographies in the Visual Arts: Feminist Readings, book review by Valerie Reardon 47/204
  • Pollock, Jackson review by Francis Frascina 9/55, 16/133, 29/141; Jeffrey Kastner ‘Pollock 50 Years On’ 1/223; Jonathan Harris ‘Pollockmania’ 7/226
  • Polsky, Richard I Bought Andy Warhol, book review by Colin Gleadell 38/271
  • Pommerer, Peter review by Laura Moffatt 42/219
  • Poncelet, Jacqueline review by Philip Sanderson 31/190
  • Pop art review by Stuart Morgan 3/150; Marco Livingstone, Pop Art, book review by John A Walker 28/150
  • pope art Editorial 10/330
  • Pope, Nicholas review by Lynne Cooke 11/53
  • Popoccultural review by David Burrows 33/202
  • Popp, Julius/Schmidt, Julia/Kossack, Oliver/Schmidt, Rigo review by Tony Wood 30/ 289
  • Populism review by Michael Gibbs 22/ 287
  • Porcupines/Arthinking review by David Barrett 47/232
  • Pornography by John A Walker 3/155
  • P-Orridge, Genesis book review of Malcolm Green (ed) Brus, Muehl, Nitsch, Schwarzkogler: Writings of the Vienna Actionists 48/235
  • Portable fabric shelters review by Godfrey Worsdale 41/187
  • Porter, Michael review by Andrew Smith 12/65, Margaret Garlake 13/61, 22/77; book review of Terry Wilson (ed), Here to Go – Brion Gysin, Jason Weiss (ed), Back In No Time – The Brion Gysin Reader 52/258
  • Posey, Emma (ed) Remote, Essays on Creativity, Technology and Remoteness 40/ 286 , book review by Michael Gibbs 40/ 286
  • Postcard from Paris by Robert Garnett 28/236
  • Postcards on photography review by Valerie Reardon 25/223
  • (Post)Cinema see Daniel Miller
  • postfeminist art Barbara Pollack on 7/235
  • posthumous artworks see Artlaw
  • post 9/11 art from the USA see feature by Michael Corris
  • Postmarks from the World of Donald Evans review by Cathy Courtney 31/213
  • Potter, Norman What is a Designer?, book review by Christopher Cornford 29/48
  • Pountain, Dick and Robbins, David Cool Rules, book review by Paul Barlow 42/245
  • Poupeye, Veerle Caribbean Art, book review by Niru Ratnam 52/222
  • Powell, Richard Black Art and Culture in the 20th Century, book review by Niru Ratnam 42/206
  • Power, Gary percent for art 23/152
  • Poynor, Rick Designing Pornotopia, book review by Shumon Basar 33/305
  • Praxis: Art in Times of Uncertainty see Thessaloniki Biennale of Contemporary Art
  • Prendergast, Kathy review by Conor Joyce 20/153; inserts in Society and Space, review by Stephen Bury 39/217; review by Daniel Jewesbury 45/234
  • Presence review by David Barrett 26/ 289
  • Presentness is Grace: Experiencing the Suspended Moment review by Emma Safe 24/253
  • Presque Rien 1 review by Martin Herbert 32/312
  • Presque Rien II review by Colin Perry 31/322
  • Pretext: Heteronyms review by Mark Durden 40/192
  • Price, Cedric Re:CP , book review by Bruce Haines 42// 273
  • Price, Cedric, Banham, Mary, Barker, Paul and Lyall, Sutherland A Critic Writes. Essays by Reyner Banham, book review by Graham Whitham 45/208
  • Price, Elizabeth review by Mark Wilsher 30/245; small Gold Medal, book review by David Lillington 37/254, LIVE , book review by Stephen Bury 37/ 290; Hearse Attending 1 to 7, Progress of a Sculpture 1 to 7, review by Stephen Bury 35/295; review by Maria Walsh 29/303 interview with Paul O’Neill 1/326
  • Price, Joanna review by Mikey Cuddihy 24/173
  • Price, Matt review of Richard Deacon 35/304, Cult Fiction: Art and Comics 34/308, It Starts From Here 27/309 review of Revolution I Love You 27/323
  • Priest, Margaret review by Sarah Kent 25/3
  • Prina, Stephen review by Andrew Wilson 28/ 281
  • Prince, Mark Avant-garde and Kitsch, feature on painting from the former GDR 9/257; review of Matthew Barney 26/258; feature on Painting & Photography 1/260 ; Southfork Ranch Romania: feature on the art of displacement 7/264; Feint Art 1/267 , feature on curators 1/ 274 , feature on pop music and art 6/ 276; letters 24/ 278 ; feature on sculpture 7/ 282; Pluralism: feature 7/293, Conceptual Formalism: feature on the legacy of Kenneth Noland 7/299, Once More with Feeling: feature on emotion in minimal and conceptual art 1/304; review of Made in Germany 40/308, Documenta 12 20/309; Beyond Appropriation Art: feature on Richard Prince and contemporary appropriation 9/310 The self-effacing object: feature 1/319, The New Black: feature, on Rothko 9/321, Reel Time: feature 5/325; review of Boule to Braid 19/329; Art & Politics: feature 5/330, The Lost Conceptualism: UK v US conceptual art: feature 5/331
  • Prince, Richard review by Michael Newman 7/72; see feature by Mark Prince
  • Princenthal, Nancy see Andrew Wilson
  • Prison review by David Barrett 27/306
  • Private View review by David Barrett 36/198
  • Procktor, Patrick interview with Cathy Courtney 42/195
  • Product Placement see Christopher Townsend
  • Projection – a video magazine review by Emma Smith 34/230
  • Prophet, Jane review by Sophie Howarth 52/242
  • Propositions review by Sotiris Kyriacou 24/208
  • Protest Art see feature by Chris Townsend
  • Pryde, James review by Paul Overy 20/160
  • Psycho Buildings: Artists Take On Architecture review by Martin Herbert 35/318
  • Public art degree 16/103; book review by John A Walker of Malcolm Miles et al., Art for Public Places 19/130; Sara Selwood 3/143; Paul Overy 2/148; letters 34/162; Chicago, review by Andrew Cross 2/168; Roland Miller on 26/178; Malcolm Miles on 26/179; Paul Usherwood on 39/184
  • public art see Dave Beech, Mark Wilsher; editorial 12/329
  • Public art commissions see Artlaw, Paul Usherwood
  • Public Art Fund Projects review by Maria Fusco 26/ 277
  • Public Art: The Professionals by Peter Fink 37/264
  • Public exhibition payment see Artlaw
  • Publish and Be Damned see Maria Fusco
  • Pugh, Simon review of Art from Another World 18/123
  • Punk art review by Andrew Wilson 7/154; letters 28/155
  • Pylypchuk, Jon review by Craig Burnett 29/ 274
  • Pyman, James Wilf - a life in pictures , review by Stephen Bury 35/ 280, Charles Burns, Black Hole 37/297, Matt Madden, 99 Ways To Tell A Story: Exercises in Style 45/300, Chris Ware, Acme Novelty Library Issue 16 37/301
  • Pyramids of Mars review by Alex Farquharson 33/244
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