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Journal articles on the topic 'London in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Keidan, Lois, and Daniel Brine. "Live Art in London." PAJ: A Journal of Performance and Art 27, no. 3 (2005): 74–82. http://dx.doi.org/10.1162/pajj.2005.27.3.74.

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2

Keidan, Lois, and Daniel Brine. "Live Art in London." PAJ: A Journal of Performance and Art 81, no. 1 (2005): 74–82. http://dx.doi.org/10.1162/1520281054969648.

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3

Taylor, Craig. "Art and Moralism." Philosophy 84, no. 3 (2009): 341–53. http://dx.doi.org/10.1017/s0031819109000357.

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AbstractMrs. Digby told me that when she lived in London with her sister, Mrs. Brooke, they were every now and then honoured by the visits of Dr. Johnson. He called on them one day soon after the publication of his immortal dictionary. The two ladies paid him due compliments on the occasion. Amongst other topics of praise they very much commended the omission of all naughty words. ‘What! my dears! then you have been looking for them?’ said the moralist. The ladies, confused at being thus caught, dropped the subject of the dictionary. (H.D. Best, Personal and Literary Memorials, London, 1829, printed in Johnsonian Miscellanies Vol. 2, G. Birkbeck Hill (ed.) (London: Constable & Co.,1897))

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4

Williams, Lorraine. "Russian art in a British public library." Art Libraries Journal 17, no. 2 (1992): 37–40. http://dx.doi.org/10.1017/s0307472200007823.

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The City of Westminster Libraries provide library services in a unique area of central London which includes a number of art galleries and most of London’s theatres. Users of the Library, among them many with professional or other interests in the arts, are served by collections which include a wide range of material on Russian art.

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5

Bowman, Glenn. "Anthropology as art, art as anthropology: Tate Modern, London." Anthropology Today 20, no. 2 (2004): 25. http://dx.doi.org/10.1111/j.0268-540x.2004.00260.x.

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6

Brett, Guy. "The sixties art scene in London." Third Text 7, no. 23 (1993): 121–23. http://dx.doi.org/10.1080/09528829308576423.

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7

Matias, J. Nathan. "Web Art Science Camp London 2010." ACM SIGWEB Newsletter, Spring (April 2011): 1–6. http://dx.doi.org/10.1145/1942800.1942801.

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8

Phipps, Christopher. "The London Library." Art Libraries Journal 31, no. 1 (2006): 5–10. http://dx.doi.org/10.1017/s0307472200014310.

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The London Library, an independent subscription lending library and registered educational charity, has been providing a wide selection of books for loan to members in all aspects of the humanities since 1841. Books and periodicals on applied art and the history of art, in all the major European languages, form an increasingly important part of its collections. The Library is embarking on a period of extension and development, and welcomes new members.

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9

While, Aidan. "Locating art worlds: London and the making of Young British art." Area 35, no. 3 (2003): 251–63. http://dx.doi.org/10.1111/1475-4762.00174.

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10

Kipel, Zora. "Byelorussian art literature collections." Art Libraries Journal 17, no. 2 (1992): 16. http://dx.doi.org/10.1017/s0307472200007756.

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In spite of the absence of specialised art libraries, some significant collections of publications on Byelorussian art exist in the State Library, and in some other libraries in Minsk. Other collections of material on Byelorussian art can be found outside Byelorussia, in England (in the Francisk Skaryna Byelorussian Library in London), and in several libraries in the USA.

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11

Ashley. "Exhibition Review: A London Tattoo Art Show." Fashion Theory 10, no. 3 (2006): 361–66. http://dx.doi.org/10.2752/136270406778050888.

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12

Garcia, Brian. "London underground maps: art, design and cartography." Planning Perspectives 29, no. 1 (2014): 123–24. http://dx.doi.org/10.1080/02665433.2013.860820.

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13

WALKER, JOHN A. "NEW ART FROM LONDON BY CHRIS TOWNSEND." Art Book 14, no. 2 (2007): 36–37. http://dx.doi.org/10.1111/j.1467-8357.2007.00799.x.

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14

Vinzent, Jutta. "The Making of Modern Art through Commercial Art Galleries in 1930s London: The London Gallery (1936 to 1950)." Visual Culture in Britain 21, no. 2 (2020): 145–76. http://dx.doi.org/10.1080/14714787.2020.1738265.

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15

Montero, Gustavo Grandal. "Video as art: collecting artists’ moving image in academic art libraries." Art Libraries Journal 34, no. 3 (2009): 5–10. http://dx.doi.org/10.1017/s0307472200015947.

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Video collections have been part of library holdings for several decades, but developing and managing these collections presents a number of challenges. This is the case particularly for artists’ film and video, and this article attempts to identify the issues involved and to offer some practical guidance, drawing on the experience of collection development and management at Chelsea College of Art and Design Library, and across the libraries of University of the Arts London and elsewhere.

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16

López Galviz, Carlos. "The Art and Design of London's Mobility." Transfers 7, no. 1 (2017): 137–40. http://dx.doi.org/10.3167/trans.2017.070111.

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17

McEvansoneya, Philip. "The Twentieth Century German Art Exhibition: Answering degenerate art in 1930s London." Journal of the History of Collections 32, no. 2 (2019): 401–2. http://dx.doi.org/10.1093/jhc/fhz037.

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18

Marcus, Aaron. "Birth/Death of information as art." Information Design Journal 11, no. 2-3 (2003): 246–51. http://dx.doi.org/10.1075/idj.11.2.21mar.

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Birth/Death of information as art: ‘BodyWorlds’ The author comments on the notorious exhibit of anatomical art, ‘BodyWorlds’ by Dr. Gunther von Hagens when it was on view in London (March 21st 2002 – February 9th 2003).

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19

Binkowski, Kraig. "The ARIAH-RIHA Professional Exchange Fellowship: first-hand perceptions of photo archives in London art libraries." Art Libraries Journal 44, no. 1 (2019): 31–36. http://dx.doi.org/10.1017/alj.2018.33.

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In the spring of 2017 I was fortunate enough to receive the ARIAH-RIHA Professional Exchange Fellowship that allowed me to travel to London and conduct research there for a month. While in London I looked closely at the collections, services, and clientele of several important art libraries in London but the main focus of my investigation was the photo archive collections that make up a part of many of these art libraries. The photo archives in my own institution at the Yale Center for British Art and our efforts toward digitisation, discovery, and open access made my close examination of similar collections in London particularly relevant – I wished to see how these libraries approached similar challenges and if these institutions share a common understanding of photo archives.

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20

Ramírez Barat, Blanca. "Gels in the Conservation of Art." Ge-conservacion 13 (June 29, 2018): 98–99. http://dx.doi.org/10.37558/gec.v13i0.584.

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Gels in the Conservation of Art Lora Angelova, Bronwyn Ormsby, Joyce H. Townsend, Richard Wolbers (eds) London: Archetype Publications Ltd, 2017 ISBN: 9781909492509 Dimensiones:297 x 210. Páginas: 406 Ilustraciones en color

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21

Herrero, Marta. "Selling National Value at the Auction Market: The London and Dublin Markets for Irish Art." Cultural Sociology 5, no. 1 (2011): 139–53. http://dx.doi.org/10.1177/1749975510380624.

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This article explores how nationality is articulated as a form of art value in the art market, where art is defined in two related ways: instrumentally, in terms of its economic value, and culturally, by defining its meaning and significance. Focusing on the auction market of Irish art in London and in Dublin, and drawing upon interviews with auctioneers in both capitals, it investigates how nationality is produced and marketed as a form of cultural value for Irish art, comparing the specific dynamics of this process in both London and Dublin auction markets. Whilst the findings in this article agree with existing literature on the economic and cultural forms of art value prevalent in art markets, they add to the literature by arguing that the cultural, national element of value-making for Irish art is very pronounced.

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22

Cannon, Catríona, and Pat Christie. "Stock editing: creating guidelines for University of the Arts London." Art Libraries Journal 30, no. 2 (2005): 31–35. http://dx.doi.org/10.1017/s0307472200013936.

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Editing stock is a challenge for all libraries but this is particularly true in the area of art, design and communication. The authors describe a project in a London-based art, design and communication university, University of the Arts London, to agree on guidelines which would keep stock current and relevant, but at the same time safeguard valuable material for present and future use.

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23

Finbow, Steve. "Warhol: A Life as Art, Blake Gopnik (2020)." Punk & Post-Punk 9, no. 3 (2020): 574–78. http://dx.doi.org/10.1386/punk_00065_5.

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24

Alexander, Tamsin. "IlluminatingGustavus the Thirdand the Art of Spectacle in 1830s London." Cambridge Opera Journal 29, no. 1 (2017): 33–52. http://dx.doi.org/10.1017/s0954586717000039.

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AbstractTo turn to 1830s London is to explore a time and place newly obsessed with the eye and with lighting technologies. Understanding how opera was experienced at this time, therefore, requires that visuality be brought to the fore. One staging in particular, that ofGustavus the Third, adapted from Daniel Auber’sGustave IIIfor Covent Garden in 1833, reveals how new discussions about light and vision were influencing responses to opera. While London adaptations of Frenchgrands opérasin the nineteenth century have often been dismissed as shabby imitations, critics insisted that the spectacle inGustavusoutstripped anything that had ever been done in Paris. The reason, I propose, was the source and focus of that spectacle: light.

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25

Vicars-Harris, Oliver. "COLLAGE “the Corporation of London Library & Art Gallery Electronic”." Art Libraries Journal 24, no. 1 (1999): 48–51. http://dx.doi.org/10.1017/s0307472200019349.

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The Corporation of London (the local authority for the City) recently launched COLLAGE, a powerful custom-designed visual information system, whose aim is to transform public accessibility to the extensive visual collections held in its libraries and galleries. Over a period of eighteen months a dedicated team of staff photographed, digitised and indexed over 30,000 works of art as the result of an intensive data imaging project. So far the works are drawn from the Guildhall Library and Guildhall Art Gallery - collections particularly renowned for their strength in material relating to London, which is now widely and easily accessible on dedicated workstations in the City, as well as via the Internet.

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26

Gaterell, Mark. "The art of John Martin's London sewerage system." Proceedings of the Institution of Civil Engineers - Engineering History and Heritage 165, no. 1 (2012): 3–8. http://dx.doi.org/10.1680/ehah.2012.165.1.3.

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27

Mason, Marilyn. "Nigel Warburton, The Art Question, (London: Routledge, 2003)." Think 2, no. 5 (2003): 103–6. http://dx.doi.org/10.1017/s1477175600002682.

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28

Ogrodnik, Benjamin. "Video/Art: The First Fifty Years, Barbara London." Journal of Curatorial Studies 9, no. 2 (2020): 288–91. http://dx.doi.org/10.1386/jcs_00028_5.

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29

Doyle White, Ethan. "Visualising a sacred city: London, art and religion." Time and Mind 11, no. 4 (2018): 436–37. http://dx.doi.org/10.1080/1751696x.2018.1541554.

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30

Dwyer, Claire. "Visualising a Sacred City: London, Art and Religion." Material Religion 15, no. 3 (2019): 383–84. http://dx.doi.org/10.1080/17432200.2019.1572366.

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31

HEALY, M. "Bronzino's London Allegory and the Art of Syphilis." Oxford Art Journal 20, no. 1 (1997): 3–11. http://dx.doi.org/10.1093/oxartj/20.1.3.

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32

Ingram, Alan. "Art, Geopolitics and Metapolitics at Tate Galleries London." Geopolitics 22, no. 3 (2016): 719–39. http://dx.doi.org/10.1080/14650045.2016.1263186.

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33

Cannon-Brookes, P. "New displays of far eastern art in London." Museum Management and Curatorship 12, no. 1 (1993): 101–7. http://dx.doi.org/10.1016/0260-4779(93)90011-d.

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34

Brown, Bronwen. "Art Revolutions2000258Linda Bolton. Art Revolutions. London: Belitha Press 2000. 32 pp, ISSN: 99." Reference Reviews 14, no. 5 (2000): 43–44. http://dx.doi.org/10.1108/rr.2000.14.5.43.258.

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35

Andron, Sabina. "Selling streetness as experience: The role of street art tours in branding the creative city." Sociological Review 66, no. 5 (2018): 1036–57. http://dx.doi.org/10.1177/0038026118771293.

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This article looks at the street art tours industry in London, and its function in constructing the geographic, economic and symbolic value of street art. The street art world of the capital has reached a substantial level of institutional endorsement as a proper urban creative practice, through backing such as by local councils and private developers, art galleries and book publishers. This article examines the role of walking tours in holding up street art as a cultural product of the creative city. It argues that London’s street art scene is constructed and legitimated by these tours through the strategic deployment of an authoritative discourse. Street art tours’ routes and locations are then integrated into a longer lineage of endorsements for the cultural field of street art, and interpreted as branding strategies for the creative city. In the conclusion, the role of walking tours in gentrification and urban change is discussed, with a focus on how street art works and murals contribute to performing Shoreditch as a hub of vibrancy and urban creativity.

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36

Nixon, Mignon. "Death Work in Venice: In memoriam Khadija Saye." October 161 (August 2017): 3–10. http://dx.doi.org/10.1162/octo_a_00300.

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Mignon Nixon reflects on the Manchester Arena bombing, London Bridge and Borough Market attack, and Grenfell Tower fire in London, as well as the 2017 Venice Biennial, via J-B Pontalis's writings on the psychoanalytic notion of death-work. Nixon argues that the defining problem of Christina Macel's exhibition Viva Art Viva in Venice, an exhibition so insistently art- and artist-positive—“designed with artists, by artists, and for artists” as the press release notes—is that its aesthetics of redemption is predicated on a negation of life, and thereby a negation of art.

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37

Meriton, John. "Training and the National Art Library." Art Libraries Journal 27, no. 1 (2002): 13–17. http://dx.doi.org/10.1017/s0307472200019921.

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The National Art Library at the Victoria & Albert Museum in London has always seen itself as primarily an educational institution, with training as an integral part of its fabric. There are two fundamental strands to this training the provision of training by our librarians to the users, and the training the staff receive in order to develop and better perform their jobs.

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38

Irish, Sharon. "Generating Art in Symbiotic Systems." Media-N 15, no. 1 (2019): 96–100. http://dx.doi.org/10.21900/j.median.v15i1.61.

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This essay reviews the book by Francesca Franco, Generative Systems Art: The Work of Ernest Edmonds (London: Routledge, 2018). This illustrated monograph discusses the primarily computer-generated work of Ernest Edmonds (b. 1942) in the context of twentieth-century art in Europe. Franco provides relevant technological history as she analyzes Edmonds’ paintings and interactive and digital projects, often created in collaboration. This book is a significant contribution to the history of computer art in which Franco affirms Edmonds’ focus on “the human’s way of working.”

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39

Ogrodnik, Benjamin. "Dreamlands: Immersive Cinema and Art, 1905 – 2016: Whitney Museum of American Art, October 26, 2016 – February 5, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 109–12. http://dx.doi.org/10.5195/contemp.2017.231.

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Eschibition Review:Exhibition catalog: Chrissie Iles, Dreamlands: Immersive Cinema and Art, 1905–2016. New Haven/London: Yale University Press, 2016. 256pp.; 300 color and 100 b/w ills. Hardcover $65.00 (9780300221879) Exhibition schedule: Whitney Museum of American Art, New York, NY, October 28, 2016–February 5, 2017

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40

Prickett, Stacey. "Hip-Hop Dance Theatre in London: Legitimising an Art Form." Dance Research 31, no. 2 (2013): 174–90. http://dx.doi.org/10.3366/drs.2013.0075.

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Programming schedules in the West End and other prominent London venues are increasingly featuring hip-hop dance productions, marking innovative forays into the mainstream performance field by a former subcultural style. Choreography by Rennie Harris in the USA and Jonzi D, Kate Prince, Sandy ‘H20’ Kendrick and composer Michael ‘Mikey J’ Asante in London offers material through which to consider developments in the theatricalisation of hip hop culture. Discussion also centres on mass media dissemination through television talent shows, films and cultural festivals such as the Olympic Games ceremonies. Analysis of reviews by professional critics reveals how some stereotypes are disrupted as the cultural capital of hip-hop dance rises. Key themes, including the use of narrative, characterisation and the disruption of dominant gender expectations, are drawn from a Society for Dance Research Study Day on ZooNation Dance Company in 2011. *

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41

Hendry, Holly. "Amputated Architectures." Architectural Research Quarterly 18, no. 4 (2014): 396–402. http://dx.doi.org/10.1017/s1359135515000135.

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Holly Hendry is a sculptor based in London. Graduating from the Slade School of Art, University College London in 2013, Hendry was the inaugural Woon Fellow at Northumbria University, a significant prize for young and emerging artists. Hendry held a twelve-month residency at Baltic 39 in Newcastleupon-Tyne, culminating in her first solo-show at Gallery North, Hollow Bodies. Her work is concerned with the spatial, material and structural qualities of architecture and how space is experienced in historical and contemporary contexts. Currently in the first year of a two-year sculpture MA programme at the Royal College of Art, London, Hendry sat down with reviews and insight editor Ed Wainwright to discuss the intersections of art and architecture, the architecture of hollowness and the cut, and how her sculpture interrogates architecture for its silent symbolism.

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42

Garcia Alonso, Emma. "Iron and steel in art: corrosion, colorants, conservation." Ge-conservacion 1 (December 28, 2011): 264–65. http://dx.doi.org/10.37558/gec.v1i1.77.

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Reseña del libro:Iron and steel in art: corrosion, colorants, conservation David A. Scott y Gerhard Eggert Publicado por Archetype Publications Ltd. London, 2009 196 páginas, 138 ilustraciones, 30 x 21,5 cm. ISBN: 978-1-904982-05-0

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43

Regev, Motti. "Introduction." Popular Music 25, no. 1 (2006): 1–2. http://dx.doi.org/10.1017/s0261143005000681.

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How does one tell the history of an art form? Looking at classic examples like Gombrich's The Story of Art (London, Phaidon Press, 1950) or Read's A Concise History of Modern Painting (London, Thames and Hudson, 1959), it seems that, at their core, such projects conventionally consist of annotated lists: extended commentaries on a long line of works and artists, in other words a canon. These works are typically presented as peaks of the aesthetic power of the art form in question, as ultimate manifestations of aesthetic perfection, complexity of form and depth of expression which humans are capable of reaching through this art form. Such presentations hide an implicit promise that, with proper knowledge, encounters with these works will result in extraordinary experiences.

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44

Lawes, Elizabeth, and Vicky Webb. "Ephemera in the art library." Art Libraries Journal 28, no. 2 (2003): 35–39. http://dx.doi.org/10.1017/s0307472200013109.

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Art libraries acquire a large amount of ephemeral material which creates a unique resource on the history of contemporary art. Librarians have to decide what should be retained, how it should be stored, and how the material can best be accessed. Increasingly there is pressure to digitise in order to promote collections, but how effective this process is in terms of ephemeral material remains a real question. A survey of prominent collections in London and New York has helped to inform future plans for the ephemera held by the library at Chelsea College of Art & Design.

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45

Haught, Leah. "Fragments and Assemblages: Forming Compilations of Medieval London by Arthur Bahr." Arthuriana 23, no. 4 (2013): 111–12. http://dx.doi.org/10.1353/art.2013.0041.

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46

King, Bruce. "BOOK REVIEW: Veerle Poupeye.CARIBBEAN ART. World of Art Series. London: Thames and Hudson, 1998." Research in African Literatures 31, no. 4 (2000): 172–73. http://dx.doi.org/10.2979/ral.2000.31.4.172.

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47

Brown, Bronwen. "(Children’s) Art Revolutions2001110Linda Bolton. (Children’s) Art Revolutions. London: Belitha Press 2000. 32 pp £9.99." Reference Reviews 15, no. 2 (2001): 46. http://dx.doi.org/10.1108/rr.2001.15.2.46.110.

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48

Schneider, M. "Art Antiquity and Law, Institute of Art and Law (IAL), London, ISSN 1362-2331." Uniform Law Review - Revue de droit uniforme 2, no. 2 (1997): 422–23. http://dx.doi.org/10.1093/ulr/2.2.422-a.

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49

Toll, Haley Rebecca May. "Bridging memories and transformative narratives: A visual and written response to Art-making with refugees and survivors by Sally Adnams Jones / Rapprochements entre souvenirs et récits transformateurs : réponse visuelle et écrite à Art-making with refugees and survivors par Sally Adnams Jones." Canadian Review of Art Education / Revue canadienne d’éducation artistique 46, no. 2 (2019): 76–81. http://dx.doi.org/10.26443/crae.v46i2.82.

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Book Response: Art-making with refugees and survivors: Creative and transformative responses to trauma after natural disasters, war, and other crises, edited by Sally Adnams Jones. London, England: Jessica Kingsley Publishers, 2018, 336 pp., ISBN: 1785922386Keywords: Community Arts; Refugees and Survivors; International Arts; Expressive and Creative Arts Therapies; Art Education; Transformative. Réaction livresque: Art-making with refugees and survivors: Creative and transformative responses to trauma after natural disasters, war, and other crises, edited by Sally Adnams Jones. London, England: Jessica Kingsley Publishers, 2018, 336 pp., ISBN: 1785922386Mots-clés : arts communautaires ; réfugiés et survivants ; arts internationaux ; thérapies par des activités créatives et d’expression ; éducation artistique ; transformateur.

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50

Kwei-Armah, Kwame. "‘Know Whence You Came’: Dramatic Art and Black British Identity." New Theatre Quarterly 23, no. 3 (2007): 253–63. http://dx.doi.org/10.1017/s0266464x07000152.

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Kwame Kwei-Armah's play Elmina's Kitchen was a landmark in British theatre history as the first drama by an indigenous black writer to be staged in London's commercial West End. The play's success since its premiere at the Royal National Theatre included a national tour and a season at Center Stage, Baltimore, directed by August Wilson's director Marion McClinton. In this interview with Deirdre Osborne, Kwei-Armah testifies to Wilson's considerable influence and the inspiration he derives from Wilson's project to account for the history of black people's experience in every decade of the twentieth century. Deirdre Osborne is a lecturer in drama at Goldsmiths College, University of London, and has published essays on the work of black British dramatists and poets including Kwame Kwei-Armah, Dona Daley, debbie tucker green, Lemn Sissay, SuAndi, and Roy Williams.

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