As it approaches its 30th anniversary, the Public Monuments and Sculpture Association (PMSA) has announced the transfer of its interest in Sculpture Journal entirely to existing co-owner Liverpool University Press (LUP). Over the past three decades PMSA has initiated many high-profile projects including the Sculpture Journal. The journal was founded and developed alongside the PMSA’s ground-breaking … Continue reading
The Trouble with Diary: Reflections on Researching the Journal of Keith Vaughan for ‘Image of a Man’
Alex Belsey is the author of the recent Liverpool English Texts and Studies publication, Image of a Man, a comprehensive critical reading of the extraordinary journal written by post-war British painter Keith Vaughan. In this post, Alex Belsey looks back at researching Vaughan's journal and the many questions that arise when working with diaries, along with … Continue reading
Dystopolis – In Conversation with Jasmir Creed
Dystopolis presents new paintings by Jasmir Creed. Critical texts by Dr Lauren Elkin and Dr Graeme Gilloch explore the paintings in contemporary cultural contexts. The paintings explore Jasmir Creed's 'psycho-geographic city journeys, focusing on architecture and crowds showing the city as a rich forest-like environment'. We caught up with Jasmir Creed to discuss her exhibition … Continue reading
The Legacy of Art and Feminism in the 1970s
Katy Deepwell discusses the feminist art practices explored by herself and co-editor Agata Jakubowska in All-Women Art Spaces in Europe in the Long 1970s. The book examines all-women art spaces in the long 1970s in Europe, can you explain how it came about? Most of the contributors met at a panel, ‘All women art spaces as … Continue reading
The Crisis of History Painting in the 1850s – In Conversation with Gülru Çakmak
We caught up with author of Jean-Léon Gérôme and the Crisis of History Painting in the 1850s, Gülru Çakmak, to discuss the critical reception of the French painter's work and his challenge of making history experiential. Your new book addresses the crisis of history painting in the 1850s. Why did you choose to draw focus upon this … Continue reading
