Richard Serra is one of the most important and revered artists working today. Rising to prominence on the New York art scene more than forty years ago, Serra (born 1939) is now celebrated internationally for his unprecedented monumental steel sculptures and for his radical approach to drawing. Richard Serra: Drawings for the Courtauld accompanies the first museum exhibition of Serra's most recent drawings, which mark an exciting new departure for the artist. The display will unveil 12 of Serra's new works, created especially for this installation at The Courtauld. Made using thick black pigment applied to both sides of a clear plastic sheet, these drawings, which he calls 'transparencies', are extraordinary objects that challenge preconceptions of what constitutes a drawing. For Serra, drawing has always been an essential way of exploring new creative impulses, materials and working methods. 0Exhibition: The Courtauld Gallery, London, UK (19.9.2013-12.1.2014). 0.
Taking its lead from William Henry Hunt's watercolour The Head Gardener in The Courtauld Gallery's permanent collection, this focused exhibition is the first to investigate Hunt's striking depictions of rural figures in the 182.os and 183os. Consisting of twenty watercolours selected from collections across the UK, William Henry Hunt : Country People brings together a caste of country folk in their working or living environments, from farmers and millers to estate gardeners, poachers and gamekeepers. The representation of these rural figures, treated with dignity and respect, raises important questions about the changing conditions of rural labour and the land during Hunt's lifetime. Celebrated especially for his beautiful depictions of birds' nests and other still lifes, this exhibition sheds light on a little-known aspect of one of the most admired British watercolourists of the nineteenth century.
A Prospect Best Book of 2021 ‘A fascinating and timely book.’ William Boyd ‘Gripping…a must read.’ FT ‘Compelling…humane, reasonable, and ultimately optimistic.’ Evening Standard ‘[A] valuable guide to a complex narrative.’ The Times In 1897, Britain sent a punitive expedition to the Kingdom of Benin, in what is today Nigeria, in retaliation for the killing of seven British officials and traders. British soldiers and sailors captured Benin, exiled its king and annexed the territory. They also made off with some of Africa’s greatest works of art. The ‘Benin Bronzes’ are now amongst the most admired and valuable artworks in the world. But seeing them in the British Museum today is, in the words of one Benin City artist, like ‘visiting relatives behind bars’. In a time of huge controversy about the legacy of empire, racial justice and the future of museums, what does the future hold for the Bronzes?
Lucretius' Epicurean poem De Rerum Natura ('On the Nature of Things'), written in the middle of the first century BC, made a fundamental and lasting contribution to the language of Latin philosophy. The style of De Rerum Natura is like nothing else in extant Latin: at once archaic and modern, Romanizing and Hellenizing, intimate and sublime, it draws on multiple literary genres and linguistic registers. This book offers a study of Lucretius' linguistic innovation and creativity. Lucretius is depicted as a linguistic trailblazer, extending and augmenting the technical language of Latin in order to describe the Epicurean universe of atoms and void in all its complexity and sublimity. A detailed understanding of the Epicurean linguistic theory brings with it a greater appreciation of Lucretius' own language. Accordingly, this book features an in-depth reconstruction of certain core features of Epicurean linguistic theory. Elements of Lucretius' style discussed include his attitudes to, and use of, figurative language (especially metaphor); his explorations, both explicit and implicit, of Latin etymology; his uses of Greek; and his creative deployment of compounds and prefixed words. His practice is related throughout not only to the underlying Epicurean theory but also to contemporary Roman attitudes to style and language. The result is a new reading of one of the greatest and most difficult works to survive from the Roman world.
In 2017 Barnaby Lenon, previously the head master of Harrow School, wrote a best-selling book about high-achieving state schools in England (Much Promise). Later that year he went on a tour of Further Education colleges and started to research the fortunes of those who do less well at school. In Other People's Children he writes about the state of vocational education in England and the implications of his findings for a post-Brexit economy.
Prospects for Peace is an eight-chapter text that focuses on the issues and controversies in the so-called global peace. The first chapters provide a framework of the issues of global peace, the increasing probability of nuclear war, global militarization, and the spread and use of nuclear weapons. These topics are followed by discussions of legal policies concerning nuclear weapon, particularly nuclear war fighting weapon in Europe. A chapter examines the unimaginable consequences of nuclear war. The last chapter emphasizes the prospects for peace, including nuclear weapon disarmament and the control of military science.
Have industrial-age technologies and visual discourses transformed us into spectators of the real, and can realist fiction make that transformation visible to us? This book brings Situationist Guy Debord’s Society of the Spectacle and an array of cultural criticism into dialogue with novels by Hardy, Forster, Woolf, Rushdie, Carey and Barnes to foreground literary realism’s critique of visual culture, including Gothic architectural revival, neoclassicism, tourism, historical pageantry, postcolonial cinema and photography, museums, preservationism, urbanism and artisanal neo-folk movements. Barnaby advances the concept of meta-spectacle to distinguish realist fiction that engages ethically with visual discourses from realist-ic fiction that reproduces the visible veneer of reality for aesthetic consumption. He highlights the limitations of artistic critiques of spectacle, considers their resilience toward a culture industry that continuously repackages iconoclasm as iconicity, and reflects upon the process of reorienting the reader to comprehend realist gestures. By heightening the capacity to recognize our own immersion within objectified representations of the real, Realist Critiques of Visual Culture demonstrates how literary realism remains vital within a society that is so deeply invested in visually replicating and archiving lived experience.
First Published in 1972. This volume includes Proceedings of the Third Course given by the International Summer School on Disarmament and Arms Control of the Italian Pugwash Movement. The include paper included cover three sections- Technology of Weapons of Mass Destruction; Disarmament: History and Future Prospects and : Dynamics of the Arms Trade.
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