art | research | history
This article examines in what ways and for what reasons have established approaches to the interpretation of works of art been challenged since the 1970s? The article will focus on Barnett Newman’s 1950 work, The wild, and will compare two essays, firstly by Lisa Frye Ashe, and then by Michael Schreyach. The ‘beholders involvement’ is […]
John Glassford of Dougalston (1715–1783) was one of the wealthiest merchants of his time, trading principally in tobacco.[1]Glassford also invested in tanneries, dye works, operated a chain of stores in Virginia where he sold iron and metal tools; large quantities of cotton fabrics of low to medium quality to make clothing for planation workers
‘Nothing is more natural in art history than to draw parallels between periods of culture and periods of style.’ This article will critically assess the uses and limitations of the concept of style for the practice of art history. As the quotation above suggests, style is often used to describe consistency of qualities in periods […]
In Critique of Judgement, Emmanuelle Kant argued the case for the artistic genius;[1]which is defined as a member of society with God-given talent, almost always male,[2]whose unacceptable behaviour may at times be excused, but who otherwise exhibits an extraordinary creative gift.[3] This article will reflect on two texts that discuss this concept of artistic genius in relation […]
From 1740 to 1790, Glasgow was the leading entrepôt of tobacco in the world.[1] Many locations and street names in Glasgow celebrate the magnificent wealth building of early merchants, who took Glasgow from an insignificant Scottish town of barely a dozen streets, to a global trade dominion. Often overlooked however, is the near total reliance on slave […]
This post examines the issue of Scottish national identity using a theoretical framework drawn from Cybernetics and Postcolonial theories. Specifically it focuses on the construction of the historical relationship between Scotland and England through the process of manufacturing myth. By examining the parallels between Cybernetics theory and Postcolonial theory as it is applied to Scottish […]
The focus of this article concerns new models of collaborative authorship, unattainable outside computer generated art. Within this area I am particularly interested in questions of digital authenticity. This interest was initially in relation to Walter Benjamin’s concept, which argues that prior to the ‘age of mechanical reproduction’ the unique existence of a work of […]
Margaret Boden opens her authoritative essay on computer art with, ‘it is often seen as inauthentic, even strictly impossible, because it lacks certain essential features of genuine art. For instance, it’s said that computers don’t have emotions; that any work of art is a human communication rooted in human experience; that computer art isn’t unique, […]
A microcosmic synopsis In his essay, Dutton demonstrates that authenticity in art may be comprised of what we call nominal authenticity. This can be defined as the correct attribution of its authorship, or provenance of an object to it’s original creator, rather than that of a forgery. This ensures that the artwork is properly named. […]
24/10/11 I found today’s lecture by the new head of post-graduate studies at Glasgow School of Art, Tim Collins, inspiring and astounding. Tim, in collaboration with his wife, Reiko Goto, forges a discourse between art and nature. His projects, ‘Nine Mile Run’ and ‘3 Rivers 2nd Nature’, both of which intervened with large-scale environmental concerns […]
