NIGEL LENDON | A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism
This paper examines the evolution of the historical and theoretical literature that has developed about the work of the avant-garde Italian artist Alighiero Boetti produced in Afghanistan from 1971 until 1994. Characterised by a set of interrelated cultural and historical
NIGEL LENDON | A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism
This paper examines the evolution of the historical and theoretical literature that has developed about the work of the avant-garde Italian artist Alighiero Boetti produced in Afghanistan from 1971 until 1994. Characterised by a set of interrelated cultural and historical
HELEN HUGHES | An editorial approach: Mike Nelson’s corridors and The Deliverance and The Patience
This essay contrasts the contemporary British artist Mike Nelson’s approach to constructing his large, multi-room installations with his approach to editing the numerous artist books that he has produced since 2000. This comparison reveals several compositional symmetries between the two,
HELEN HUGHES | An editorial approach: Mike Nelson’s corridors and The Deliverance and The Patience
This essay contrasts the contemporary British artist Mike Nelson’s approach to constructing his large, multi-room installations with his approach to editing the numerous artist books that he has produced since 2000. This comparison reveals several compositional symmetries between the two,
KEITH BROADFOOT | Seeing Scale: Richard Dunn’s Structuralism
Writing on the occasion of a retrospective of Richard Dunn’s work, Terence Maloon argued that ‘structuralism had an important bearing on virtually all of Richard Dunn’s mature works’, with ‘his modular, “crossed” formats’ being the most obvious manifestation of this.
KEITH BROADFOOT | Seeing Scale: Richard Dunn’s Structuralism
Writing on the occasion of a retrospective of Richard Dunn’s work, Terence Maloon argued that ‘structuralism had an important bearing on virtually all of Richard Dunn’s mature works’, with ‘his modular, “crossed” formats’ being the most obvious manifestation of this.
CHRISTOPHER ADAMS | Futurismo in Guerra: The Aesthetics and Reception of 1940s “Aeropainting of War”
In its final phase (1940-44) Italian Futurism remained a vibrant and multi-faceted movement. However, its enduring Fascist sympathies throughout the dark years of World War Two have proved a major obstacle to an objective appraisal of its achievements during this
CHRISTOPHER ADAMS | Futurismo in Guerra: The Aesthetics and Reception of 1940s “Aeropainting of War”
In its final phase (1940-44) Italian Futurism remained a vibrant and multi-faceted movement. However, its enduring Fascist sympathies throughout the dark years of World War Two have proved a major obstacle to an objective appraisal of its achievements during this
ROBERTA CRISCI-RICHARDSON | The Unmarriageable Artist: the History Paintings of Edgar Degas
In this paper, Edgar Degas’ history paintings are read as the painter’s reflection on the irreconcilability of married life and artistic vocation, a major theme of discussion among artists and writers in nineteenth-century France. In The Young Spartans Exercising (1861) we see
ROBERTA CRISCI-RICHARDSON | The Unmarriageable Artist: the History Paintings of Edgar Degas
In this paper, Edgar Degas’ history paintings are read as the painter’s reflection on the irreconcilability of married life and artistic vocation, a major theme of discussion among artists and writers in nineteenth-century France. In The Young Spartans Exercising (1861) we see
DARREN JORGENSEN | Nowhere man: The Countryside of Fred Williams after Western Desert painting
Two monographs on Australian artist Fred Williams, published by Patrick McCaughey and James Mollison during the 1980s, have recently been joined by a third, Deborah Hart’s Fred Williams: Infinite Horizons (2011). While the first two argue that the artist’s work bridged a
DARREN JORGENSEN | Nowhere man: The Countryside of Fred Williams after Western Desert painting
Two monographs on Australian artist Fred Williams, published by Patrick McCaughey and James Mollison during the 1980s, have recently been joined by a third, Deborah Hart’s Fred Williams: Infinite Horizons (2011). While the first two argue that the artist’s work bridged a
