Visual Culture in Britain最新文献

{"title":"‘The Up-springing Stem of the Neck’ in G. F. Watts’s Paintings","authors":"Rhian Addison","doi":"10.1080/14714787.2020.1735946","DOIUrl":"https://doi.org/10.1080/14714787.2020.1735946","url":null,"abstract":"The neck was used by G. F. Watts as an autonomous limb in which he encapsulated his ideals of beauty. This article demonstrates how Watts’s artistic fetish for the neck was a reflection of Victorian ideals, whilst simultaneously projecting his message about beauty. The article considers the spheres of influence that contributed to Watts’s admiration, then how he used the neck in practice: as a tool for expression and focal point for the body-centred composition. The neck became an intermedial conduit across mediums which enabled Watts to disperse his standard of beauty through a single body part.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"247 - 274"},"PeriodicalIF":0.0,"publicationDate":"2020-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1735946","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42639156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘A Luminous Translation’: Lithophanes at Woburn Abbey, 1836 to 1838","authors":"S. Scott","doi":"10.1080/14714787.2020.1738266","DOIUrl":"https://doi.org/10.1080/14714787.2020.1738266","url":null,"abstract":"Between 1836 and 1838, a unique display of 175 lithophanes was created at Woburn Abbey by John Russell, 6th Duke of Bedford. Lithophanes (thin porcelain plaques with a relief surface that reveals an image once backlit) were invented around 1826 and primarily reproduced imagery from other sculptures, paintings and prints. Arguing that lithophanes were indicative of English reception of continental imagery, and at the intersection of fine and decorative arts, this article examines the curation of the Woburn lithophanes to show how novelty emblematized the peak of innovation in interdisciplinarity and emerging design reform ideals in the nineteenth century.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"227 - 246"},"PeriodicalIF":0.0,"publicationDate":"2020-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1738266","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47817193","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Worlding of Light and Air: Dufaycolor and Selochrome in the 1930s","authors":"M. Henning","doi":"10.1080/14714787.2020.1730706","DOIUrl":"https://doi.org/10.1080/14714787.2020.1730706","url":null,"abstract":"During the 1930s, new photographic technologies and practices addressed the difficulties of dealing with different kinds of climate, in Britain and her colonies. This article draws on archival material associated with two brands of photographic film manufactured in England by Ilford Limited: Selochrome and Dufaycolor. It describes these films as involved in a process of ‘worlding’, and as part of a ‘photography complex’ which produces the tropics and the British seaside as testing grounds for photography. Worlding involves the harnessing of light and air, the recalibration of bodies, the redistribution of sensory experiences and the production of new materialities.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"177 - 198"},"PeriodicalIF":0.0,"publicationDate":"2020-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1730706","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44058085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: Women Painting: Scottish Art 1940–1980","authors":"M. Greated, Susannah Thompson","doi":"10.1080/14714787.2020.1714475","DOIUrl":"https://doi.org/10.1080/14714787.2020.1714475","url":null,"abstract":"Editorial for a co-edited special issue of the journal Visual Culture in Britain, published by Taylor & Francis, focusing on painting by women in Scotland in the mid-twentieth century. The edited collection reflects upon and examines an under-examined body of practice in the history of Scottish art, presenting thematic essays and detailed case studies of specific artists. \u0000 \u0000Contributors include: Joanne Tatham & Tom O'Sullivan (Royal College of Art; Northumbria University); Debi Banerjee (Edinburgh Sculpture Workshop); Deborah Jackson (Edinburgh College of Art), Jenny Brownrigg (GSA); Kyla McDonald (GSA) along with articles by the two editors, Susannah Thompson and Marianne Greated (GSA).","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"1 - 13"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1714475","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46350332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Waiting Figure in a Landscape: The Painting of Carole Gibbons","authors":"Debisree Banerjee","doi":"10.1080/14714787.2020.1716843","DOIUrl":"https://doi.org/10.1080/14714787.2020.1716843","url":null,"abstract":"This article traces the career of Glasgow painter Carole Gibbons to consider why she never achieved the same public profile as some of her contemporaries. It reflects on Glasgow’s art scene from the late 1950s to mid-1980s, her peer group, influences and her position as a woman, to understand why she is not more recognized. Since 2012 her work has been brought to wider public attention by a new generation of artists, specifically through her friendship with the painter Lucy Stein. This article uses an interview with Gibbons and Stein as a basis for unravelling Gibbons’ experiences.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"114 - 132"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1716843","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47161994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Cod Liver Oil’: The Art and Criticism of Cordelia Oliver","authors":"Susannah Thompson","doi":"10.1080/14714787.2020.1717365","DOIUrl":"https://doi.org/10.1080/14714787.2020.1717365","url":null,"abstract":"The artist, critic and curator Cordelia Oliver was an incisive and highly respected art critic in Scotland from the late 1950s to her death in 2009. Through her critical writing and curatorial practice, she offered a unique perspective on the production and reception of art from Scotland in the mid-to-late twentieth century. This paper focuses particularly on Oliver’s role as an artist-critic and her efforts to ensure the visibility and critical reputation of painting by women in Scotland, including many of her peers and contemporaries such as Bet Low, Margot Sandeman and Joan Eardley, and later painters, including Carole Gibbons and Pat Douthwaite.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"30 - 56"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1717365","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48929016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Grande Dame and the Canvas Ceiling: Lys Hansen","authors":"M. Greated","doi":"10.1080/14714787.2020.1721314","DOIUrl":"https://doi.org/10.1080/14714787.2020.1721314","url":null,"abstract":"This essay focuses on the artist Lys Hansen (b. 1936) and discusses her work in relation to Scottish art and its infrastructures, self-portraiture, expressionism and the positioning of artists who are women. Although Hansen has been regarded as one of the key figurative painters working in Scotland in the mid-to-late-twentieth century, this essay suggests that her gender has defined the reception of her painting practice. The research proposes that re-evaluating her career will allow a fuller interpretation of her work and its relevance to historic and current painting practices in Scotland.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"73 - 97"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1721314","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43399074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"VCB 20.3 Review","authors":"D. Jackson","doi":"10.1080/14714787.2020.1716574","DOIUrl":"https://doi.org/10.1080/14714787.2020.1716574","url":null,"abstract":"This review examines the curatorial impulses of three exhibitions that are part of a recent flurry of shows which have focused, either directly or indirectly, on centuries of women’s marginality and invisibility in the arts. The exhibitions: ‘369 Remembered – The Women’; ‘Self Portrait as Saint Catherine of Alexandria’ and ‘The Future is Female’ all build on the historiography of feminist and women’s art that’s been evident for more than half a century. In this review, attention is focused on the curatorial practices rather than the artworks themselves in order to explore how knowledge is embodied within curatorial processes. The mandate for the historical recovery of women’s contributions to art can be said to have begun in earnest in 1971 when Linda Nochlin asked the question that would shape feminist art history, ‘Why Have There Been No Great Women Artists?’ The answer, she argues, is to be found in the social and institutional structures that underpin artistic production, the art world and art history. Nochlin demonstrates that these structures produce gender inequality. She stresses that women were restricted in their access to training and patronage as well as being negatively affected through the values by which artists are historicized, which results in women artists, at best, being insufficiently investigated or appreciated, and at worst being excluded. Nochlin’s essay is still a leading text for many feminist art researchers seeking to understand gender inequality in the visual arts. Nochlin, together with other feminist art historians such as Griselda Pollock and Rozsika Parker, exposed the institutional, economic and socio-political reasons for women’s exclusion from the art world, and consequently from art history. In doing so they were instrumental in expanding the canon of art beyond a chronological story about celebrated Western male artists. They demonstrated that power relations in the wider social and political field are mediated through institutional practices. This means that the dominant set of values and perceptions come to be institutionalized so that they are reflected in the formal structures, social norms and organization of art institutions. That is to say, historical and contemporary manifestations of identity, difference and disadvantage shape cultural production.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"133 - 143"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1716574","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43465009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bet Low: An Active Career","authors":"J. Brownrigg","doi":"10.1080/14714787.2020.1721313","DOIUrl":"https://doi.org/10.1080/14714787.2020.1721313","url":null,"abstract":"Bet Low’s early work captured city scenes and people, before she turned her attention to landscape painting. Low then developed a uniquely figurative style, visually reducing landscape into key elements. Running concurrently with her artistic practice, Low’s early experience at Glasgow Unity Theatre and involvement in artist-led groups led to her co-founding the New Charing Cross Gallery (1963–8).Although she was an independent artist actively working outside any institutional context, Low did not consider herself ‘unknown’. This article therefore considers the visibility of her practice, concluding with a consideration of her critical legacy.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"57 - 72"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1721313","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48377699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Multiple Selves of Pat Douthwaite","authors":"Kyla P. Mcdonald","doi":"10.1080/14714787.2020.1715830","DOIUrl":"https://doi.org/10.1080/14714787.2020.1715830","url":null,"abstract":"The Scottish painter Pat Douthwaite (1934–2002) has often been dismissed as a ‘troubled’ artist, known for her dark and nightmarish scenes. Her unique style, however, remains unparalleled in Scottish post-war painting. Focusing on her paintings of women from the 1960s to early 1980s, this article explores Douthwaite’s examination of the self and the construction of womanhood through her production of covert self-portraits.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"14 - 29"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1715830","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48173989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}