Fig.2 John Constable The Cornfield 1826 National Gallery, London Born into a prosperous family in the village of East Bergholt, Suffolk, Constable’s early display of aptitude and passion for painting ...

Suspended, collapsed, stacked, wrapped or folded, the works of Phyllida Barlow spring from an interrogation of some of the most fundamental aspects of sculpture: its physical attributes and its ...

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 ...

Transnational is a way of understanding, researching and curating that encourages the idea that art, artists and art histories are connected beyond their countries of origin. The word ‘transnational’ ...

In 1886 the philosopher Friedrich Nietzsche declared the sublime out of date.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 ...

The Camden Town Group was composed of sixteen artists, judged by an inner core to be ‘the best and the most promising of the day’. Controversially, women were not allowed to join, though they formed ...

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 ...

Edmund Burke’s Philosophical Enquiry (1757) connected the sublime with experiences of awe, terror and danger. Burke saw nature as the most sublime object, capable ...

Emerging alongside a network of notable figures such as Scarlett Cannon, Boy George and Princess Julia, Bowery cemented his ...

The exhibition’s title ‘Walk the House’ is drawn from a Korean expression referring to the hanok – a house that could ...

The June 1966 issue of Arts Magazine heralded the Argentine artist Marta Minujín’s arrival on the international art scene as a ‘Latin Answer to Pop’. This article seeks to complicate Minujín’s ...

As a collective endeavour, the NYGW sought to redefine the practice of printmaking, setting it free from what the workshop’s founders perceived to be the stifling conservatism that constrained the ...