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To accompany the exhibition in the Austrian Pavilion for the 55th Biennale di Venezia, a landmark publication titled "Austria and the Venice Biennale 1895-2013" will be launched in May 2013. This scholarly, 400-page publication will present, for the first time, a comprehensive overview of each individual exhibition, with the help of previously unpublished photographs, plans and correspondence drawn from public and private archives in several different countries. The list of artists presented by Austria at the Venice Biennale over the last 120 years includes most, if not all, of the leading figures of its cultural avantgarde: from Gustav Klimt, Egon Schiele and Oskar Kokoschka, Hermann Nitsch and Arnulf Rainer to VALIE EXPORT, Maria Lassnig and Franz West.
Arguing in favour of renewed critical attention to the 'nation' as a category in art history, this study examines the intertwining of art theory, national identity and art production in Britain from the early eighteenth century to the present day. The book provides the first sustained account of artwriting in the British context over the full extent of its development and includes new analyses of such central figures as Hogarth, Reynolds, Gilpin, Ruskin, Roger Fry, Herbert Read, Art & Language, Peter Fuller and Rasheed Araeen. Mark A. Cheetham also explores how the 'Englishing' of art theory-which came about despite the longstanding occlusion of the intellectual and theoretical in British culture-did not take place or have effects exclusively in Britain. Theory has always travelled with art and vice versa. Using the frequently resurgent discourse of cosmopolitanism as a frame for his discourse, Cheetham asks whether English traditions of artwriting have been judged inappropriately according to imported criteria of what theory is and does. This book demonstrates that artwriting in the English tradition has not been sufficiently studied, and that 'English Art Theory' is not an oxymoron. Such concerns resonate today beyond academe and the art world in the many heated discussions of resurgent Englishness.
In this elegant book Richard Bosworth explores Venice—not the glorious Venice of the Venetian Republic, but from the fall of the Republic in 1797 and the Risorgimento up through the present day. Bosworth looks at the glamour and squalor of the belle époque and the dark underbelly of modernization, the two world wars, and the far-reaching oppressions of the fascist regime, through to the “Disneylandification” of Venice and the tourist boom, the worldwide attention of the biennale and film festival, and current threats of subsidence and flooding posed by global warming. He draws out major themes—the increasingly anachronistic but deeply embedded Catholic Church, the two faces of modernization, consumerism versus culture. Bosworth interrogates not just Venice’s history but its meanings, and how the city’s past has been co-opted to suit present and sometimes ulterior aims. Venice, he shows, is a city where its histories as well as its waters ripple on the surface.
This volume is the first comprehensive study of the influence of English Pre-Raphaelitism on Italian art and culture in the late nineteenth century. Analysis of the cultural relations between Italy and Britain has focused traditionally on the special place that Italy had in the British imagination, but the cultural and artistic exchanges between the two countries have been much misunderstood. This book aims to correct this imbalance by placing Pre-Rapahelitism in its European context. It explores the nature of its influence on Italy, how it was transmitted, and how it was manifested, by focusing on the role of Italian Anglophiles, the English communities in Florence and Rome, the writings of Gabriele D'Annunzio, and a number of Italian artists active in Tuscany and Rome. The works of Cellini, Ricci, Gioja, De Carolis, and Sartorio in particular fully demonstrate the impact of Pre-Raphaelitism on the young Italian school of painting which found in the English movement an ideal link with its glorious past on which it could build a new artistic identity. These artists show that English Pre-Raphaelitism was one of the most powerful single influences on fin-de-siecle Italian culture.
How did exhibitions become a vital tool for public communication in early twentieth century Britain? Showing resistance reveals how exhibitions were taken up by activists and politicians from 1933 to 1953, becoming manifestos, weapons of war and a means of signalling political solidarities. Drawing on dozens of examples mounted in empty shops, workers’ canteens, station ticket halls and beyond, this richly illustrated book shows how this overlooked form was created by significant makers including artists Paul Nash, John Heartfield and Oskar Kokoschka, architect Erno Goldfinger and photographer Edith Tudor-Hart. Showing resistance is the first study of exhibitions as communications in mid-twentieth century Britain.
Appointed in 1938, Sir John Rothenstein was the first director of the Tate to embrace modern art, mounting a series of daring exhibitions and procuring a procession of audacious masterworks that, in the words of one contemporary, ‘completely knocked the stuffiness out of that veritable institution.' So why, since he died in 1991, has his name become a byword for reactionary conservatism? The answer is that from the outset of his career, Rothenstein refused to bow to the patriarchs of the avant-garde. In the 1920s, while they were busy decrying the figurative tradition, Rothenstein was championing a brilliant generation of artists whose work remained firmly rooted within it. In the 1930s, while they advocated a geometrical art of the utmost austerity, Rothenstein used his first curatorial positions to promote a new wave of exciting young British realists. Pitted against the progressives of Hampstead and Bloomsbury and inspired by the anti-vanguardism of his father and Wyndham Lewis, this book charts Rothenstein's earliest efforts to champion modern realistic painting in an age of abstraction. Along the way, it uncovers his selfless and pioneering patronage of artists as diverse as Stanley Spencer, Edward Bawden, Evelyn Dunbar, Paul Nash, Charles Mahoney, and Eric Ravilious. In so doing, it also establishes his importance in the reassessment of twentieth-century figuration going on today.
This book explores how festivals and events affect urban places and public spaces, with a particular focus on their role in fostering inclusion. The ‘festivalisation’ of culture, politics and space in cities is often regarded as problematic, but this book examines the positive and negative ways that festivals affect cities by examining festive spaces as contested spaces. The book focuses on Western European cities, a particularly interesting context given the social and cultural pressures associated with high levels of in-migration and concerns over the commercialisation and privatisation of public spaces. The key themes of this book are the quest for more inclusive urban spaces and the contested geographies of festival spaces and places. Festivals are often used by municipal authorities to break down symbolic barriers that restrict who uses public spaces and what those spaces are used for. However, the rise of commercial festivals and ticketed events means that they are also responsible for imposing physical and financial obstacles that reduce the accessibility of city parks, streets and squares. Alongside addressing the contested effects of urban festivals on the character and inclusivity of public spaces, the book addresses more general themes including the role of festivals in culture-led regeneration. Several chapters analyse festivals and events as economic development tools, and the book also covers contested representations of festival cities and the ways related images and stories are used in place marketing. A range of cases from Western Europe are used to explore these issues, including chapters on some of the world’s most significant and contested festival cities: Venice, Edinburgh, London and Barcelona. The book covers a wide range of festivals, including those dedicated to music and the arts, but also events celebrating particular histories, identities and pastimes. A series of fascinating cases are discussed - from the Venice Biennale and Dublin Festival of History, to Rotterdam’s music festivals and craft beer festivals in Manchester. The diverse and innovative qualities of the book are also evident in the range of urban spaces covered: obvious examples of public spaces – such as parks, streets, squares and piazzas – are addressed, but the book includes chapters on enclosed public spaces (e.g., libraries) and urban blue spaces (waterways) too. This reflects the interpretation of public spaces as socio-material entities: they are produced informally through their use (including for festivals and events), as well as through their formal design and management.
This is the twentieth in a series of occasional volumes devoted to studies in British art, published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art and distributed by Yale University Press. --Book Jacket.
This title was first published in 2003. Twenty-seven years after his death, Roger Hilton's reputation as a leading figure in British 'abstract expressionism' continues to rise. Following the major retrospective exhibition at the Hayward Gallery in 1993 and the drawings survey at the Tate St Ives in 1997, this lavishly illustrated account is the first to provide a comprehensive overview of the life and work of this important artist. Hilton's extraordinary career is discussed in all its phases, from the intriguing earliest explorations in paint to the inception of his first abstract pieces around 1950 and the complex and intriguing interchanges of imagery and form that mark his final works. Adrian Lewis explains the artist's mature works as both attracting the viewer and resisting easy reading, and discusses in detail the artist's debt to the Ecole de Paris and his relation to the notion of the 'act of painting' that pervaded post-war culture.
A vivid and revealing book published alongside a landmark exhibition focused on one of New Zealand's most internationally recognised artists, Frances Hodgkins. Marking the 150th anniversary of the artist's birth New Zealand-born Frances Hodgkins (1869–1947) arrived in London in 1901 and, by the 1920s, had become a leading British modernist, exhibiting frequently with avant-garde artists such as Ben Nicholson, Barbara Hepworth and Henry Moore. Published to coincide with a touring exhibition of her work initiated by Auckland Art Gallery Toi o Tamaki, this book explores Hodgkins as a traveller across cultures and landscapes—teaching and discovering the cubists in Paris, absorbing the landscape and light of Ibiza and Morocco, and exhibiting with the progressive Seven & Five Society in London. Complete with a rich visual chronology of the artist's encounters abroad, alongside over one hundred of Hodgkins' key paintings and drawings, the book is an illuminating journey that moves us from place to place through the writings of a number of distinguished national and international art historians, curators and critics: Frances Spalding (University of Cambridge, England), Alexa Johnston (Auckland-based writer and curator), Elena Taylor (University of New South Wales, Australia), Antoni Ribas Tur (Ara newspaper, Spain), and Julia Waite, Sarah Hillary, Catherine Hammond and Mary Kisler (Auckland Art Gallery Toi o Tamaki, New Zealand).