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Cv/VAR no.100 publishes an interview with the American artist Jim Dine, recorded by cell phone from Wales to the artists Paris studio on May 11th, 2010. In this, he discusses his beginnings as an artist, his work with Claes Oldenburg and the Happenings, the Pinocchio series, 52 Books at Pace Gallery, New York, and the relationship of drawing to his graphic work.

His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist. His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist.

The reputation of Cecil Beaton hardly rests on the fact that he was the most prolific and productive of official war photographers both on the home front and abroad during World War II; rather, he is thought of as a royal-society- and celebrity-portrait photographer, designer for stage and film - recipient of three Oscars and a Tony - prolific author, and gossipy and fascinating diarist.

The artist Ingres was a supreme bourgeois who also succeeded in being one of the supreme rebels of 19th-century art. Like Caravaggio, his opposite in most respects, he is historically recalcitrant.

Lucio Fontana is rightly regarded as one of the most important Italian artists active in the 20 years after World War II, important not only in Italy, but in a pan-European sense. It is, however, also important to remember additionally that he was born in Argentina and spent quite important parts of his early career there, working first as an assistant to his father, Luigi, a sculptor, and then independently.

Flying into Sarajevo is no big deal nowadays. Customs and immigration are quick. You don't need a visa if you hold an EEC passport. Perhaps the only noticeable difference between this and other flights within Europe is a slightly increased degree of airport security. Hand luggage goes through a scanner at two different points, before you board the aircraft. Nor is arrival at the hotel any different from arriving at big chain hotels in other European cities. The Holiday Inn is transatlantic in style, with a big fountain outside and a soaring atrium within. Things are busy - the receptionist leafs through lots of different pieces of paper before finally, and rather reluctantly, locating our reservations. "Do you mind having a room that overlooks the big boulevard? It might be a bit noisy." But when I get there, it's double-glazed, so there is no problem.

Of all the British poets of my generation, Ted Hughes, now nearly 20 years dead, left behind him both the grandest and most sulfurous reputation. The controversies he aroused rumble on, and the hurts, in certain quarters, are still keenly felt. Any life story that comprises not just two but actually three suicides, plus a murder, does wrap a cloak of darkness about itself.

Charles Thomas "Chuck" Close (born July 5, 1940) is an American painter and photographer who achieved fame as a photo-realist. He developed his own highly resolved heads (his preferred term to portraits), which were worked on a massive scale. Despite suffering a disabling spinal aneurysm in 1988, the artist has continued to forge a monumental body of work in a variety of media: paintings, drawings, prints, and photographs, of potent and original effect.

New projects and new ideas along with matchmaking in Timdgrass are just a small part of part seven of Les Berbères et moi. What is all the fuss about kissing? The author explains zina and how Shari'ah punishes you for that. You feel the blisters on the author’s hands when she beats the dirt out of sheep skin as well as the discomfort and cold during her night voyage to Casablanca.

Marina Vaizey reviews the work of Julia Margaret Cameron, Victorian photographer, exhibited at the Victoria and Albert, and Science Museum London.

Part three of Magdalena's journal describes broadly "the forbidden" subjects: intimacy and drinking in the context of Islam that is supported by numerous tales from the Quran, and how young people will turn the prohibited into pleasure. She depicts the growing tension between her and her Muslim family and the cultural clash, something that one will not get in package holidays. "Lasciate ogne speranca, voi ch'intrate": it's Dante's invitation to Hell; here however, it invites one to hammam.

In a 1968 photograph a US Marine pauses for thought, inadvertently echoing those renaissance paintings of meditating scholars, holding his helmet rather than a book - but this is a quiet moment in the battle for Hue. It is McCullin's photographs which helped to define the savage war in Vietnam for Britain, and beyond. Some is unbearably sad: a young North Vietnamese soldier, a casualty of Hue, stares sightlessly at the photographer, his hands outstretched to the detritus of his pockets, scattered on the earth beside the body.

What about fatalism? Should women wear tight jeans? What about swimming? Our God or My God, whose then? Some of those issues are discussed in part four of Magdalena Wasiura's account of her stay in Morocco. She also describes a rather stressful Christmas time spent in Morocco, the overprotective nature of her Muslim family, and her trip to Meknes where she gets arrested.

Magdalena Wasiura returns to Morocco after a holiday to live and work with the Berber community, sharing their experiences, customs, and way of living. Part One describes the author's first step into the life of her Moroccan family hosts, takes you to the souk and hammam, explains the importance of Fridays for Muslim society, sulks itself in whisky and the problems caused by it. In this part we are introduced to countless opportunists and amiable characters, and we visit a rather lavish circumcision party.

This essay explores the development of Salvador Dalí, from the early phases of childhood, the bizarre and complex aims of his first experiments, to his absorption into high society of Paris in the 1930s, and his inclusion in the Surrealist movement from 1928 to 1939. The essay focuses on the makeup of a provocative and original personality acutely reflexive, intelligent, and pathologically driven.

The dazzling exhibition of Horst at the Victoria and Albert is particularly apt: classically trained in avant garde design and architecture, Horst was involved as a precociously successful photographer for Condé Nast publications, not only with the leading fashion houses, but the social and artistic élite. And he took sustained inspiration from the isms of art - past and present. In the thirties he photographed costumes by Dali and used props from Giacometti furniture. Dali designed a set for a photograph for Horst to take for American Vogue, with dresses by Hattie Carnegie.

An essay by Edward Lucie-Smith explores aspects of the mysterious and private character of the renowned American society artist John Singer Sargent.

An interview with the author J. P. Donleavy, recorded in 1989 on the occasion of his exhibition at Anna-Mei Chadwick Gallery, Chelsea. He describes his formative experience of Dublin, with exhibitions there in 1948, '50, and '51, the catalogue manifestos, for these were his first published writings, leading to work on his first renowned novel, The Ginger Man.

An interview recorded with the leading ceramic designer and studio potter Janice Tchalenko explores her development, from training with Mick Casson at Harrow Schoolo of Art to growing her own practice, leading to a major commission of supply to the Next retail chain. Tchalenko describes her appointment to renew China's ceramic industry and her activity as the chief designer of the Dartington pottery.

Daniel Graves is a man of many talents. He juggles his responsibilities of being a painter, a teacher, the director of The Florence Academy of Art, a husband, and a father remarkably well. He knew from the age of three or four who he wanted to be. His career launched when he was 11 years old. He studied with many artists including Richard Lack, Richard Serrin, and Signorina Simi, and received regular critiques from Pietro Annigoni.