One can only marvel at the voracity with which the demons of the New York gallery/museum scene have scrupulously resurrected some of the lost souls of the 1960s after paying no attention to them for 45 years and allowing them to grow old and gray while children were given license to spread their excrement on numerous overwhelming numbers of gallery walls.

The absence of a question mark after the title of this exhibition, "Can Buildings Curate"?on display at the Architectural Association in London until May 27?is pointed: of course buildings can curate.

A ROXY MUSIC REUNION
It’s been over 20 years since Roxy Music’s last album, Avalon, but there is a good news on the horizon: all five original members (Bryan Ferry, Paul Thompson, Phil Manzanera, Andy Mackay and Brian Eno) are planning to record a new album. The band already had a "reunion" tour four years ago but it wasn’t a true reunion as Brian Eno, who was once voted fourth best instrumentalist in the world, wasn’t a part of it. He has already confirmed that he’ll play with Roxy Music this June at the Isle Of Wight Festival in England.

Influenced by much theological study, numerous journeys to India and in depth research into Eastern philosophy, Raffaella Corcione has been continuously developing her artwork. Predominantly defined by its experimental elements and variety, Corcione?s works explore bright colors, abstract forms and human figures; Corcione also plays with these elements in her sculptural works.

With echoes of Picasso’s contorted figures, Degas’ dappled strokes and a Jungian exploration of The Self, Heidemarie Kull’s latest series illuminates the canvas. Kull explores the complexities of color and metaphors; her imagined figures and mysterious compositions are filtered through a melting pot of artistic and literary influences.

With dramatic, almost violent, strokes and textured layers, Xavier Busquets tries to capture the passion and pain of life, love and modern society. "I paint feelings," he explains, "feelings of friendship, feelings of beautiful sunny days, rain in New York . . . I try to put in an image something that escapes words.

Anna VanMatre captures a prominent struggle, that of nature and man's destructive interference with it. Drawing with pencil on paper, she depicts rising smoke and gases, voluminous plumes of steam and radioactive dust

Andrea Bettin is a man living a double life. While at work as an engineer, his mind is always on art, what he feels is his true purpose. And yet, Bettin’s art seems to borrow from his scientific background, or else work within its context–exploring life’s peculiarities, attending to the details of nature.

Every artist struggles with the specters of the Great Artists and Writers and Other Masters whose epithets we capitalize. Skilled artists can ape the styles of their favorites, but only for a select few does appropriation become reinvention.

One image dominates "Regarding Terror: The RAF Exhibition" at the Kunst-Werke Institute for Contemporary Art in Berlin, which documents over 30 years (1968 until now) of media and art inspired by the Marxist-Moaist terrorist group the Red Army Faction of Germany.

During January and February of this year, Glyndor House was the site of intensive transformation, inhabited by artists creating installations that engage the interior spaces and vistas in unlikely ways.

The landscape has been a persistent theme in art for centuries. As a tradition in painting, it has been practiced in both Eastern and Western cultures for many centuries. Today the cultures are no longer so distant as they one were. In the current era of cultural globalization, a new kind of synthesis has evolved.

Every artist struggles with the specters of the Great Artists and Writers and Other Masters whose epithets we capitalize. Skilled artists can ape the styles of their favorites, but only for a select few does appropriation become reinvention. Debra Drexler has confronted her "anxiety of influence" with clever literalism, studious particularity and playful invention. She figuratively and fictionally reincarnates Gauguin in "Gauguin’s Zombie," an installation she has been developing for over four years.

`underlining in typography anymore, so these three demands, projected onto a screen during a press conference at Columbia University to announce the launch of the new magazine VOLUME, seemed particularly emphatic and unashamedly earnest.

Coreen Simpson emerged within the context of photographers when the medium was still locked within traditional constrictions. It was a strictly male-dominated field?especially among Black photographers where certain groups such as the Kamonge Workshop adhered to some rather restrictive stylistic nuances and thematic boundaries for creating photographic art.