Abstracts & Authors' Biographies
vol. 35 (2): 200-205 |
Being British and Going … Somewhere
Lisa Tickner, vol. 35 (2): 206-215 |
‘The morrow we left behind’: Landscape and the Rethinking of Modernism, 1939–53
Chris Stephens, vol. 35 (2): 216-233 |
Sculpture for the Hand: Herbert Read in the Studio of Kurt Schwitters
Megan R. Luke, vol. 35 (2): 234-251 |
Science, Art and Landscape in the Nuclear Age
Catherine Jolivette, vol. 35 (2): 252-269 |
Photography into Building in Post-war Architecture: The Smithsons and James Stirling
Claire Zimmerman, vol. 35 (2): 270-287 |
Realism, Brutalism, Pop
Alex Potts, vol. 35 (2): 288-313 |
The Independent Group’s ‘Anthropology of Ourselves’
Catherine Spencer, vol. 35 (2): 314-335 |
Dada’s Mama: Richard Hamilton’s Queer Pop
Jonathan D. Katz, vol. 35 (2): 336-353 |
Francis Bacon: Painting after Photography
Martin Hammer, vol. 35 (2): 354-371 |
Vulgar Pictures: Bacon, de Kooning, and the Figure under Abstraction
Andrew R. Lee, vol. 35 (2): 372-393 |
‘Export Britain’: Pop Art, Mass Culture and the Export Drive
Lisa Tickner, vol. 35 (2): 394-419 |
Painting and Sculpture of a Decade ’54–’64 Revisited
Andrew Stephenson, vol. 35 (2): 420-441 |
Varieties of Belatedness and Provincialism: Decolonization and British Pop
Leon Wainwright, vol. 35 (2): 442-461 |
Parading David
Anne Dunlop, ONLINE EARLY |
‘Mantras of Gibberish’: Wallace Berman's Visions of Artaud
Lucy Bradnock, ONLINE EARLY |
‘The mere relation of the sufferings of others’: Highmore, History Painting and the Foundling Hospital
Jacqueline Riding, ONLINE EARLY |
