Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.
The architect, like other professions in the modern world distinguished by specialist training (doctors, engineers, etc.), cannot be conceived easily without some notion of ‘expertise’.
The planning of cities from the 1940s to the 1960s is one of the major strands of British (and indeed, international) post-war social history.
Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America is a deeply researched book, focused on how the new medium of photography was shaped and, in turn, altered by the country’s struggle over human bondage.
In 1979 Pete Wrong of the art collective and Punk band Crass was being interviewed by New Society about his graffiti operation on the London Underground: ‘We don’t just rip the posters down or spray them. We use stencils, neatly, to qualify them.
The Romantic image of the starving artist painting in a threadbare garret and refusing to bend his talent to please a Philistine public could not be further from the artists and their studios considered in Louise Campbell’s Studio Lives.