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New documents regarding the Carfax Gallery: 'Fans and other paintings on silk by Charles Conder' 1902
The 1902 exhibition \"Fans and other paintings on silk by Charles Conder\" at Carfax and Co. in London, England, finally allowed recognition of Conder's works on silk. This was his first solo exhibition, but it was not successful and often is ignored in literature about the artist. This essay examines the exhibition and considers its importance in Conder and Carfax's history.
Journal Article
Rama Matters
Griffiths reviews the exhibition catalog The Passion according to Carol Rama (La passione secondo Carol Rama) by Paul B. Preciado, Teresa Grandas, and Anne Dressen.
Book Review
Berthe control
The seeming hurry of Morisots paintings conceals their studied brilliance, writes Sam Kitchener.Berthe Morisot: Shaping Impressionism 31 March-10 September Dulwich Picture Gallery, LondonCatalogue by Marianne Mathieu (ed.) ISBN 9781898519485 (hardback), £29 (Dulwich Picture Gallery)
Magazine Article
Alice Lex-Nerlinger: Fotomonteurin und Malerin
Clark reviews Alice Lex-Nerlinger: Fotomonteurin und Malerin edited by Marlon Beckers, essay by Rachel Epp Buller.
Book Review
Role model
Artemisia, 3 October-24 January 2021 National Gallery, London. Catalogue by Letizia Treves (ed.) ISBN 9781857096569 (hardback), £35 (Yale University Press).Initially scheduled to open in March, the National Gallery's exhibition of paintings by Artemisia Gentileschi (1593-1654 or later) thankfully survived the closure of the museum by the pandemic and has now been unveiled to rapturous reviews. This small but significant show is worth visiting for the chance to appreciate the career of one of the great painters of 17th-century Italy. The aim of the exhibition is to clarify the oeuvre of Artemisia by presenting the best-documented, most securely attributed paintings, including some that have only recently been rediscovered.
Magazine Article
DID GRACE COSSINGTON SMITH READ VIRGINIA WOOLF?
DID GRACE COSSINGTON Smith read Virginia Woolf? It's a question that has niggled me for years. The art history profession tends to talk of visual art as if it is an insular, self-absorbed activity with the only direct creative influences coming from other visual works. Paintings are shown to beget more paintings. But artists not only go to exhibitions.
Magazine Article
Patrimonio: Kukuli Velarde
Inspired by Latin American history, folklore, religious iconography, colonization and gender roles, Velarde presents us with a layered revisionist history infused with dark humour. Characterized by over-sized heads, expressive facial features and round child-like 'pot' bellies, the creatures confront the viewer with emotions of vexation, resignation, fear, outrage and indignation. Oppression, colonization, extermination of indigenous cultural traditions, restrictive/prescriptive gender roles, bloodshed in the name of religion?
Book Review
The Negotiation of Circumstance: New Zealand Women Artists, c.1890-1914
As a study of the emergence of women artists in New Zealand, c.1890-l9l4, this thesis is also a study in the ideological and material basis of Cultural production and Cultural life in the colony. It is argued here that during this period, the imperial relationship created an environment in the colony which both empowered and disabled women as Artists. The material conditions of life and work in the Art world, the way the recruitment, practice and profession of Artists was organized, enabled women to compete on terms of near equality with men. Further, the congruence that existed through ideology between Woman and Artist, meant women could accept themselves, and be accepted by others, as Artists. Art was within their sphere. However, colonial society necessitated training as a professional, in Europe and in Europe the circumstances were different. The advantageous and enabling circumstances did not exist in the same way in the Art circles of European cities. In these environments, the ideology and practice of Art differentiated more markedly between men and women. Colonial women were doubly disabled in Europe, once by their colonial origin and then again by gender. Women existed as Artists most easily within enclaves in Europe where the conditions, customs and methods of work most closely replicated those of their colonial homeland. This led however, led women away from places of influence and into marginalised expatriate networks or into perpetual studenthood.The world of New Zealand's painters was one of complex, and contradictory or ambiguous possibilities at the level of both ideology and material conditions. The model of oppression-and-resistance usually employed in women's history cannot easily deal with this, and make their lives comprehensible. Concepts must be developed to allow for the more complex effects of the way power operates both productively and repressively. The formulation of the 'negotiation of circumstance' has allowed this complexity to emerge.
Dissertation