Contemporary artists have extended the vocabulary of the sublime by looking back to earlier traditions and by engaging with aspects of modern society. They have located the sublime in not only the ...
In 1886 the philosopher Friedrich Nietzsche declared the sublime out of date. A number of artists of early and mid-twentieth century continued to engage with concepts of the sublime, though often in ...
Robert Bevan and Stanislawa de Karlowska settle at 14 Adamson Road in the Swiss Cottage area of London. Albert Rutherston contributes two pictures to the New English Art Club and meets Walter Sickert ...
This is one of four reports produced by researchers in the project Reshaping the Collectible: When Artworks Live in the Museum. Each offers a perspective from one of four practices that are changing ...
Keen to present the latest American painting to British audiences, the Tate Gallery secured a place for itself in the international tour of an impressive grouping of works drawn from the collections ...
Examining the idea of being ‘machine-like’ and its impact on the practice of automatic writing, this article charts a history of automatism from the late nineteenth century to the present day, ...
This paper establishes a technical art history of the paintings of Frank Bowling and chronicles materials and techniques used by the artist over the course of his career, from the 1950s onwards. It ...
Andrew Cummings reports on a talk by the artist Tehching Hsieh, featuring a response from Amelia Groom (editor of Time in the Documents of Contemporary Art publication series) and a discussion ...
Louise Nevelson once noted that ‘artists are born collectors’.1 The artist herself was a life-long collector and that pastime ultimately came to inform how she worked, culminating in her monumental ...
Bernd and Hilla Becher have spent their life together photographing the unintended beauty that can be found in industrial structures. Michael Collins profiles the winners of 2002’s prestigious erasmus ...