Eugène Delacroix (1798-1863) Scenes from the Massacres at Chios (1824; Paris: Musée du Louvre)
The people have spoken – Black Artists in British Art has made ICA’s shortlist for book of the year.
Eddie Chambers looks at five Black British artists who represent the fascinating sweep of a neglected art history.
Later this month we publish Eddie Chambers’ Black Artists in British Art: A History from 1950 to the Present, so in the meantime read this exclusive extract.
Griselda Pollock has been put forward as a possible successor to follow Sir Kenneth Clark as host of the BBC’s revamp of Civilisation.
Helen Chadwick’s notorious Carcass sculpture has been recreated for Tate Liverpool’s new Keywords exhibition. Stephen Walker explores the significance of the work, and how it resonates with the book that inspired the exhibition.
Why does ugliness, associated for millenia with negative categories from sin and stupidity to triviality and boredom, remain central to art and cultural practice?
Marie Bashkirtseff (1859-84), Self-portrait, n.d., oil on canvas.
In November, the V&A in London will be hosting a two day conference dedicated to Roszika Parker’s landmark book The Subversive Stitch.
Despite appearances, are Damian Hirst and Jack Vettriano really that different?
Mary Cassatt (1844-1926), Lydia at a Tapestry Frame, 1881, oil on canvas, 65.5 x 92 cm, Flint Institute of the Arts.
Johan Zoffany (1733-1810), The Academicians of the Royal Academy, 1771-72, oil on canvas, Royal Collection.
Ritual hazings, sauna parties and missed appointments – how much of an advantage is it to be an art historian researching contemporary artists?