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New approaches and perspectives

This book demonstrates a fruitful cross-fertilisation of ideas between British queer history and art history. It engages with self-identified lesbians and with another highly important source for queer history: oral history. The book highlights the international dimension of what to date has been told as a classic British tale of homosexual law reform and also illuminates the choices made and constraints imposed at the national level. It embarks on a queer critical history, arguing for the centrality, in John Everett Millais's life-writing, of the strange-to-us category of unconventionality. The book aims to expose the queer implications of celebrity gossip writing. It offers a historical analysis of the link between homosexual men and gossip by examining the origins of the gossip column in the British tabloid press in the three decades after 1910. The book provides an overview of the emergence and consolidation of a number of new discourses of homosexuality as a social practice in postwar Britain. It explores a British variant on homophile internationalism before and immediately after the 1967 Sexual Offences Act by mapping Grey's cross-border connections while noting strain against transnational solidarity. The book focuses on evidence collected by the 1977 Committee on Obscenity and Film Censorship to illustrate how gay men conceptualised the place of pornography in their lives and its role in the broader struggle for the freedom.

Andrew Patrizio

’s notion that the “measure of progress” of a society was its degree of individuation and differentiation. Bookchin aligned himself with Read’s naturalistic conception of the unity achieved through the differentiation of the components of a whole: “ An expanding whole is created by the diversification and enrichment of its parts .”’ 30 Read’s anarchism Herbert Read was a familiar figure in British art history and criticism from the 1930s to his death in 1968. The span of his interests and contribution is captured in many places and is being increasingly

in The ecological eye
Abstract only
Ralph Hotere and ‘New Commonwealth Internationalism’
Damian Skinner

on. 47 Hotere exists on the edges of this moment in British art history, and, as this chapter argues, placing him in this context makes sense of dimensions of his practice that otherwise remain invisible and inexplicable if he is defined only as a New Zealand artist. And yet, the presence of other settler New Zealand artists in this milieu enable us to see something distinctive

in Cultures of decolonisation
Rebecca Binns

major exhibitions being staged in Britain throughout the 1970s. Prior to this period, the work of the Dadaists had been sidelined in British art history. 47 Sadly, it took until 2015 for the first major retrospective of Hannah Höch's work to be staged at the Whitechapel Gallery (London), reflecting how important women working in such genres are often the last to receive recognition. Dada, and Heartfield, in particular, proved highly influential to the politically motivated

in Gee Vaucher
From Hélio Oiticica to Rasheed Araeen and Lee Wen
Eva Bentcheva
María José Martínez Sanchez

to the notable absence of Southeast Asian artists within ‘black Britishart history. 45 For this enactment, Lee appeared in the persona of ‘yellow man’ and proceeded to perform a series of actions using a red chain and solid fuel in front of a small live audience. While this inaugural work took place indoors, subsequent iterations took place in public spaces, where walking

in Charting space
Colin Trodd

in the untraced Adam and Eve (1842). 109 In an angry diary entry, Brown compared the failures of the Crimean War to the ‘decline of an academician or any other Titled, decorated, and legalized humbug’. See FMB, 5 October 1854, p. 98. For more on the perceived political partisanship of the Royal Academy, see C. Trodd, ‘The Authority of Art: Cultural Criticism and the Idea of the Royal Academy in mid-Victorian Britain’, Art History , 20:1 (1997), 3–22 . It is

in Ford Madox Brown
Abstract only
Art in the first industrial society
James Moore

, ‘The Authority of Art: Cultural Criticism and the Idea of the Royal Academy in Mid-Victorian Britain’, Art History, 20 (1997), 3–22. 62 For an overview see W. J. Bate, From Classic to Romantic: Premises of Taste in EighteenthCentury England (Cambridge, Mass., 1946). 63 I. Pears, The Discovery of Painting: The Growth of Interest in the Arts in England, 1680–1768 (London, 1988), esp. 1–26. 64 Cited in Pears, Discovery, 11–12. 65 Pears, Discovery, 15–16. 66 For recent comparative perspectives on these issues see C. Paul (ed.), The First Modern Museums of Art (Los

in High culture and tall chimneys
Justness and justice at home and abroad
Jeff Rosen

of the “National Portrait” in Victorian Britain’, Art History, 17:4 (1994), 523. 34 Ibid., 522. 35 Cameron, ‘Annals of My Glass House’, p. 137. 36 Quoted in Barlow, ‘The Imagined Hero as Incarnate Sign’, 522. 37 Carlyle’s familiarity with this dual status was revealed in an exchange with his wife Jane when she recognized her portrait in a shop window and recognized its status as index and as emblem: ‘The greatest testimony to your fame’, she wrote, ‘seems to me to be the fact that my photograph is stuck up in Macmichael’s window ... It proves the interest

in Julia Margaret Cameron’s ‘fancy subjects’
The moral life and the state
Jeff Rosen

: Whiggery, Religion, and Reform, 1830–1841 (Oxford: Clarendon Press, 1987); Jonathan Parry, The Politics of Patriotism: English Liberalism, National Identity and Europe, 1830–1886 (Cambridge: Cambridge University Press, 2006), esp. chapter 2; Adele M. Ernstrom, ‘“Why should we be always looking back?” “Christian art” in Nineteenth-century Historiography in Britain’, Art History, 22:3 (1999), 421–35. 14 Linda Colley, Britons: Forging the Nation, 1707–1837 (New Haven: Yale University Press, 1992). 15 Michaela Giebelhausen, Painting the Bible: Representation and Belief

in Julia Margaret Cameron’s ‘fancy subjects’