There's No Such Thing as British Art

Johns, Richard; Prettejohn, Elizabeth; Wentworth, Richard; Munns, John; Gilroy-Ware, Cora; Corbett, David Peters; Lauson, Cliff; Turner, Sarah Victoria; Hawkes, Jane; Tobin, Amy; Brockington, Grace; Hammer, Martin; George, Adrian; Cappock, Margarita; Himid, Lubaina

doi:10.17658/issn.2058-5462/issue-01/conversation

Cited by 2 publications

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“…In his provocation for 'There is no such thing as British Art', Richard Johns observes that Stubbs is one of a handful of English men who constitute the canon upheld by the National Gallery in London. 31 Thus, it is significant when addressing the global in Biswas's work that it is Stubbs, one of the canonical English painters, who forms the primary art-historical referent for Birdsong.…”

Section: Reinterpreting British Artmentioning

confidence: 99%

Synaptic Visualizations: Reading ‘the Global’ in and through the Work of Sutapa Biswas

Park¹

2022

Art History

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This essay focuses on the work of British contemporary artist Sutapa Biswas (born 1962). Over the past forty years, Biswas has engaged, through film, photography and other media, with the complex structures and aesthetics of the global, in relation to her own migratory experience. Having come to Britain from West Bengal as a child, the artist's return in the 1980s to the place of her birth precipitated a series of works that deal with the complexity of homeland and identity, memory and desire, while also challenging a Eurocentric vision of the world. Through an analysis of two film works, Kali (1984–85) and Birdsong (2004), and by focusing on Biswas's own conceptualization of the synaptic, this essay addresses the way in which the artist challenges idealized notions of post‐colonial unity, while also pointing to the possibilities of seeing and knowing across different vantage points.

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Section: Reinterpreting British Artmentioning

confidence: 99%

Synaptic Visualizations: Reading ‘the Global’ in and through the Work of Sutapa Biswas

Park¹

2022

Art History

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The Englishness of English Sedilia

Cameron¹

2017

British Art Studies

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Sedilia are the ceremonial seats of the priest, deacon, and subdeacon placed to the south of the altar. In Gothic church architecture, they typically take the form of three deep niches, recessed into the thickness of the wall, surmounted by arches and separated by shafts. These types of sedilia are most well-known from English churches of the thirteenth and fourteenth centuries. This essay looks to explain why sedilia became so popular in England, through a consideration of trends in English architecture. With the help of Nikolaus Pevsner's characterization of the country's art from The Englishness of English Art, it will argue that the basic decorative language of sedilia is entrenched in trends first developed in the Anglo-Norman Romanesque. It will also suggest, however, that regional variations in the distribution of sedilia complicate the idea of a single "national style".

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There's No Such Thing as British Art

Cited by 2 publications

References 0 publications

Synaptic Visualizations: Reading ‘the Global’ in and through the Work of Sutapa Biswas

Synaptic Visualizations: Reading ‘the Global’ in and through the Work of Sutapa Biswas

The Englishness of English Sedilia

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