'Outside Architecture': lecture at The British School at Rome

Renshaw and Donszelmann lecture on their projects for the collaborative group 'Outside Architecture' this was part of a series of papers on the subject of architecture and art curated by The British School at Rome

Negotiating the British landscape

According to many accounts, a key paradigm for understanding art in Post WWII Britain is one of Englishness versus internationalism or abstraction versus realism . These terms have a rich inflection of meanings that have been subject to interrogation over the last few decades. Anwar Shemza came to Britain and practiced his art at a time when these competing claims were at their height. In a postcolonial reading entitled “Black Diaspora Artists in Britain: Three ‘Moments’ in Post-War Britain” Stuart Hall recently used David Scott’s framework of a ‘problem space’, that is discursively defined through questions, tensions and conjunctures, that couched the entry of what he describes as first waive British commonwealth artists into critical visibility in Britain. This can be characterized in part by the reviews of WG Archer and GM Butcher, both supporters of Shemza and prominent critics of the period. Hall includes Shemza in this framework that defines the work and his aspirations as constituted through the tensions of what was perceived to be anti-colonialist aims of modernism through universalism and the ‘nativist’ current in anti-colonial nationalism . This text will focus particularly on the problematic of Landscape as a ‘problem space’ of vernacular and modernism, over here and over there. The aim is not to define Shemza within the tradition of English landscape nor to exclude him but to position him within a discursive field of landscape and modernism in mid twentieth Century art.

The Presence of Words in Visual Art from Surrealism to Conceptualism

Without a doubt, one of the biggest changes that affected XXth century art is the introduction of words into paintings and, in more recent years, in installations. For centuries, if words were part of a visual composition, they functioned as reference; strictly speaking, they were used as a guideline for a better perception of the subject represented. With the developments of the XXth century, words became a very important part of the visual composition, and sometimes embodied the composition itself. About this topic, American art critic and collector Russell Bowman wrote an interesting article called Words and images: A persistent paradox, in which he examines the American and the European art of the XXth century in almost its entirety, dividing it up in six “categories of intention”. The aforementioned categories are not based on the art history timeline, but on the role that language played for specific artists or movements. Taking inspiration from Bowman's article, this paper is structured in three chapters, respectively: words in juxtaposition and free association, words as means of exploration of language structures, and words as means for political and personal messages. The purpose of this paper is therefore to reflect on the role of language in contemporary art and on the way it has changed from artist to artist.

A catalogue of pictures by British artists, in the possession of Sir John Fleming Leicester, bart., with etchings from the whole collection. Including the pictures in his gallery at Tabley House, Cheshire; executed by permission of the proprietor; and accompanied with historical and biographical notices.

Mode of access: Internet.

Catalogue of Irish, Roman, and British antiquities, in the Museum of the late Dean of St. Patrick's.

Mode of access: Internet.

A guide to the antiquities of Roman Britain in the Department of British and Mediæval Antiquities.

At head of title: British Museum.

The industrial art manufactures of the Indian empire.

Errata slip inserted.

The Year-book of facts in science and art

Mode of access: Internet.

The best books: a reader's guide to the choice of the best available books (about 100,000) in every department of science, art, and literature, with the dates of the first and last editions, and the prize, size and publisher's name (both English and American) of each book; a contribution towards systematic bibliography,

None of the American edition published after part 4. Parts 5 and 6 have imprinted: London, G, Routledge and sond, limited, 1931-35.

Libraries, museums and art galleries year book.

Mode of access: Internet.

British sporting artists from Barlow to Herring,

The subject in brief.--Francis Barlow and his contemporaries.--Peter Tillemans: 1680(?)-1734.--Seymour and some other primitives.--John Wootton: 1678(?)-1765.--George Stubbs and his influence.--Morland, Rowlandson, and Ibbetson.--Howitt, James Ward, and Ben Marshall.--Dalby, Ferneley, and Charles Towne.--Some aspects of Henry Alken.--The Landseer-Herring period and its influence.

The art of Gerald Moira /

Initials.

Museum of foreign literature, science and art.

Edited at first by Robert Walsh, Jr. and then by Eliakim and Squier Littell, the monthly Museum of Foreign Literature, Science, and Art was the leading American eclectic for twenty years. Much of its contents were selected from British magazines; included were reviews, poetry, literary and scientific news, biographical sketches of British authors, lists of new British publications, and articles on literature. The engraved portraits in each number were a popular feature. After 1830, plates were published regularly, and the magazine began to devote a large proportion of its space to serial fiction by Dickens, Reade, Bulwer, Thackeray and other popular English novelists.