Alfred Watkins (1855–1935) originated the idea of ley-lines and surveyed alignments which articulated the prehistoric landscape of Britain, in his native Herefordshire in the 1920s. Despite the scepticism of academic archaeologists, his vision of ley-lines helped shape popular views of British landscape in the interwar years, and, during a revival of Watkins’s work from 1969, practices and perceptions of British land art.
Pataphysical Graham ‘Pataphysical Graham’ investigates the possible use of pataphysical motifs in the work of the contemporary Canadian artist Rodney Graham, through his recourse to the figures of the clinamen and the spiral, two key motifs in ’pataphysics. The discussion is keyed to issues of melancholy and utopia, as these recur in Graham’s work.
This article examines the changes in Edward Hopper’s painting style during his stays in Paris between 1906 to 1910, and compares his work to that of certain British contemporaries, notably Walter Sickert, Gwen John and J.D. Fergusson. The comparison highlights Hopper’s response to the legacy of Impressionism and his highly individual approach to the sensuality of life in the modern city.
This paper focuses on three concepts central to the theory of conservation: authenticity, change and loss. These terms are explored in relation to how they are viewed in traditional conservation practice and how they might usefully be interpreted in relation to time-based media works of art. Discussions about authenticity found in the philosophy of music suggest ways in which conservators might approach concepts of change and loss in relation to time-based media installations.
Drawing on a current research project at Tate on the conservation of modern paintings, this article, based on research carried out in 2003, presents the results of a preliminary scientific investigation into the physical, chemical and optical properties of artists’ acrylic emulsion paints and changes resulting from surface cleaning treatments and accelerated ageing
Focusing on the album of poetry and woodcuts called Sounds (Klänge), published c.1912, this paper examines how Kandinsky understood and exploited the relationship between text and image. It shows how he conceived of the album as an example of synthetic art and explores the broader principles underlying his idea of artistic synthesis.
The author assesses the reach of Kandinsky’s early painting, first reflecting upon the sense of scale and time in Kandinsky’s art, then his clash with the Constructivists and his emergence in New York in the 1940s as a ‘painterly’ European artist of significance. The paper finally dwells upon the nature of complexity in today’s painting, and its connections with Kandinsky across a century of change.