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| CHARLIE GERE |
New Media Art and the Gallery in the Digital Age
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This paper examines some the
changes that digital technology has wrought upon conceptions of space, time
and culture, and how ‘new media art’ has historically reflected
upon these. It suggests that such art might be better represented in institutions
such as Tate, which in turn might help them engage with the question of
what their own role might be in the digital age. |
| Autumn 2004 |
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| STEPHEN HACKNEY |
Paintings on Canvas: Lining and Alternatives
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This paper catalogues major
changes in attitude during the last thirty years to conservation practice
for the treatment of degraded painting canvases and outlines current practice
at Tate. Changing aims and ethics of conservation provide new challenges
and opportunities: the key to progress lies in a better understanding of
the structural mechanics and degradation processes of stretched canvas paintings.
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| Autumn 2004 |
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| YSANNE HOLT |
‘The Veriest Poem of Art
in Nature’: E. A. Hornel’s Japanese Garden in the Scottish Borders
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E. A. Hornel (1864-1933) depicted
Galloway girls in decorative, idyllic natural settings. From 1900 he also
designed a small Japanese garden at Broughton House in the Borders town
of Kirkcudbright. Hornel's garden combines standard features of Japonaiserie
with a few symbols of ‘Scottishness’ - local stones and relics. So how might
we interpret references to idealised Japanese and Scottish aesthetic and
cultural traditions in both paintings and garden?
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| Autumn 2004 |
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| ELIZABETH JABLONSKI, TOM LEARNER, JAMES HAYES
AND MARK GOLDEN |
Conservation Concerns for Acrylic
Emulsion Paints: A Literature Review
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Acrylic emulsion paints have
been widely used by artists since their development in the late 1950s. This
paper reviews the conservation information that currently exists about them.
Brief descriptions are given of their development and how they are analysed,
but the focus of this review is on current conservation concerns about their
physical properties, how they will age and the effects of cleaning.
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| Autumn 2004 |
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| NEIL MULHOLLAND |
Awkward Relations
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This paper focuses on practices
that captured critical and curatorial attention in Scotland and England
at the turn of this century: relational aesthetics and the new formalism.
Critical and curatorial representations of these practices have tended to
present each as novel and as dichotomous. I argue that dominant representations
of each tendency are mypopic and parochial, and ignore vernacular mobilisation
in favour of hegemonic imaginaries such as ‘Britishness’ and
the ‘new internationalism’. Paying closer ethnographic attention
to the differentiated glocal communities in which such art was produced
and consumed offers an alternative, culturally invested reading. |
| Autumn 2004 |
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| RICHARD SHIFF |
Judd through Oldenburg
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In his critical writing on
Claes Oldenburg during the 1960s Donald Judd explained how emotional content
might be conveyed through representational imagery, without the emotion
depending on either the identity of the represented object or the subjective
mood of the artist. Such art was neither representational, nor abstract,
nor expressive in the usual understanding of these general terms. To establish
the specificity of his position - through Oldenburg - Judd resorted to catachresis
and syllepsis, rhetorical devices that operate where more familiar language
fails. |
| Autumn 2004 |
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| JOYCE H. TOWNSEND |
The Materials Used by British Oil
Painters in the Nineteenth Century
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This paper reviews existing
literature on nineteenth-century British artists’ materials. Sources
of information, such as colourmen’s archives, artists’ diaries
and surviving palettes, are discussed, and gaps in our current knowledge
are highlighted. Particular attention is given to individual materials,
such as supports and primings, pigments, paint and mediums, adulterants,
varnishing practices and framing practices. |
| Autumn 2004 |
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| TOBY TREVES |
Kenneth Armitage’s Pandarus (version 8)
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This paper concentrates on
the making and meaning of Kenneth Armitage Pandarus (version 8) 1963, which
was recently presented to Tate in 2003 by the Patrons of British Art. Special
attention is given to the humanist content of Armitage’s oeuvre and
how this was interpreted by critics in the 1950s and 1960s. Pandarus (version
8) is considered in the context of the cultural and social changes of the
early 1960s and the rise of the New Generation sculptors. The central proposition
is that despite the critical hostility that this work and others like it
met, it is in fact closely attuned to the wider social concerns of the period. |
| Autumn 2004 |
View Paper |
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