When it comes to discussing art in newspapers, does the media’s emphasis on provocation merely reduce issues into straightforward oppositions, and at the cost of developed argument and consistency?
Edward Hopper (1882-1967), Sun in an Empty Room, 1963, oil on canvas, 73 x 100cm, Private Collection.
Unknown artist, Sir Henry Unton, oil on panel, circa 1596, 74 x 163.2 cm, National Portrait Gallery.
Because creativity is so complex, multivalent, and difficult to define, should we, like Mikhail Bakhtin, abandon attempts to theorise these processes?
Affirming authentic tradition as well as utility, even comfort, while attacking the Vienna Sucession as indulgently decorative, Adolf Loos is no simple anti-architect.
Percy Shakespeare (1906-1943), Morning Exercise, 1934, oil on canvas, 76 x 63.5 cm, private collection.
Lydia Dona, Photo Ghosts and the Labyrinth Drips on the Void, 1996, oil, acrylic, and sign paint on canvas, 213.4 x 162.6 cm.
Maria Walsh on how Cindy Sherman’s ‘Doll’ sculptures of the 1990s reveal a dynamic relationship between art and psychoanalysis.
Today in 1916, German expressionist painter Franz Marc was fatally wounded at the Battle of Verdun.
John Crome (1768-1821), Moonrise on the Yare, c.1811-1816, oil on canvas, 71.1 x 111.1 cm, Tate.