Rod Mengham's new offering comprises two complementary halves: a poetic meditation on a place (the Bronze Age site of Grimspound on Dartmoor); and a series of short essays on different cultural habitats. Grimspound is a four-part work combining prose and verse, composed on site over the course of ten years. It combines a 'wild analysis' of Hound of the Baskervilles (whose climactic scene takes place at Grimspound), a portrait of the Victorian excavator Sabine Baring-Gould, and a series of poems that draw on the Russian linguist Aharon Dolgopolsky's experimental Nostratic Dictionary. Inhabiting Art gathers essays on cultural history in relation to landscape and cityscape, viewed either episodically or in the form of a palimpsest, where the present state of the habitat both reveals and conceals its own history and prehistory.
In Chance of a Storm, poetry is language that comes trailing bits of other forms of speech and writing. While the lyric is central to Mengham's work, it cannot shrug off the ambition of epic, scaled down but still latent. This telescoping informs the structure of these poems, prose-poems and modernist fables. There are echoes of Homer, Dante, Eliot, Pound, but also the deadpan of public tannoy announcements, the white-noise of urban soap-box oration, and the strange syntax and mannerisms of shampoo bottle blurbs. Cast through these contemporary styles, Mengham's historically-aware poems become something unrecognisable: like Rilke's description of a sculpture that 'sees you from every angle', his word-sculptures see across time with an eerie plasticity, surfing literatures and cultures over millennia, even within a single sentence. Mengham is a master of the micro-paragraph, a condensed, supercharged poetry bristling with alien clarity like, to borrow a phrase from the poems, angelic cattle-prods.
Sculpture is a part of the space around it." This statement by Katarzyna Kobro reflects Mengham's sense of how he wants the poetic text to relate to the languages that surround it. The poems in this book reflect his ongoing preoccupation with Eastern Europe, the visual arts, ideas of prehistory and the process of composition itself.
This study discusses every phase of Dickens' development within his fiction, while particular attention is paid to those writings which fall into the category of first person narrative. It is through the use of the first person in novels, letters and travel writings that Dickens reveals a good deal, not only about his own identity, but also about the construction of Victorian subjectivity in general. The overriding focus of the analysis in this book is a literary one, although it includes a series of reflections on aspects of Victorian society and culture: prisons, schools, money, poverty, fallen women, orphans, detectives and The Great Exhibition.
Midnight in the Kant Hotel is an absorbing account of contemporary art, composed over twenty years. The essays revisit the same artists as they develop, following them in time, changing perspectives as he, and they, develop. Mengham is a significant curator, organising exhibitions: 'There is no more productive engagement with someone else's artworks than finding the right way to show it, since artworks are always direct statements or questions about articulations of space, and the curator's job obviously is to enhance such questions and statements.' This discipline gives the writer a series of uniquely privileged perspectives, touching, lifting, moving and re-moving the objects: 'nothing compares to living with art'. The book opens with themes: what is domestic space? what does the atrocity exhibition tell us? what is the refugee aesthetic? Essays on particular artists follow, including Marc Atkins, Stephen Chambers, Jake and Dinos Chapman, Tony Cragg, Antony Gormley, Damien Hirst, Ilya and Emilia Kabakov, Anselm Kiefer, Laura Owens, Doris Salcedo, Agnes Thurnauer, Koen Vanmechelen and Alison Wilding. Always, he is in dialogue with the work, rather than with the artist.
This critical study of Hardy's short stories provides a thorough account of the ruling preoccupations and recurrent writing strategies of his entire corpus as well as providing detailed readings of several individual texts. It relates the formal choices imposed on Hardy as contributor to Blackwood's Magazine and other periodicals to the methods he employed to encode in fiction his troubled attitude towards the social politics of the West Country, where most of the stories are set. No previous criticism has shown how the powerful challenges to the reader mounted in Hardy's later stories reveal the complexity of his motivations during a period when he was moving progressively in the direction of exchanging fiction for poetry. * Unique in providing a comprehensive criticism of Hardy's entire output of short stories. * Full, detailed, close readings of a number of key stories make this useful as a potential teaching resource. * Draws on the work of social historians to make clear the background of social and political unrest in Dorset that is partly uncovered and partly hidden in Hardy's portrayals of his fictional Wessex. * Offers fascinating insights into Hardy's near-obsession in his mature phase with the marriage contract, and with its legal binding of erratic men and women.
The writing of the 1930s is filled with a sense of being "caught between," whether it was between two world wars, different generations, modernism and realism, the middle class and the working class, local and national cultures, or national and international politics. During this decade, British literature engaged more overtly with radical politics than ever before or since, and it tested the uses and limits of difficulty, encryption, and the legacy of modernism in unprecedented ways. This volume revisits the 1930s and relates its preoccupations to popular culture and international debates, from middlebrow tastes to avant-garde experimentation, all while acknowledging regional influences and the role of gender.
The Artists Laboratory series presents the more experimental and less familiar work of contemporary artists, opening up the creative process to explore the conceptual, visual and practical issues with which they engage. This book, the sixth in the series, charts the production of Stephen Chamberss experimental project to create an immense print covering one wall of the Royal Academys stately galleries. Filled with the intriguing narratives that we have come to know in Chamberss work, and executed with his familiar decorative style, this technically complex piece has posed entirely new challenges to his skills. Illustrated with photographs and video stills that document this ambitious venture from conception to drawing, printing, framing and installation, this book reveals the risks and rewards of making art on a monumental scale.
German-born and France-based artist, Anselm Kiefer, presents 'il mistero delle cattedrali', a 11,000 square foot installation at the White Cube Bermondsey Gallery in London. The exhibition includes works from various times within the artist's four decades as a creative force and explores the idea of alchemy. The show is given the name 'il mistero delle cattedrali' due to the closely linked subject matter with that of a book in the 1920's by a French alchemist and esoteric author under the pseudonym Fulcanelli by the same title.
Ce catalogue est publié à l'occasion de l'exposition "Agnès Thurnauer. Now, When, Then, de Tintoret à Tusmans" présentée au musée des Beaux-Arts de Nantes, du 28 février au 11 mai 2014.00L'exposition présente des tableaux d'Agnès. Thurnauer avec, en regard, des portraits choisis dans les collections du Musée des beaux-arts de Nantes, envisageant ainsi l'oeuvre de l'artiste contemporaine comme un espace singulier qui communique avec d'autres espaces mentaux, formels et temporels
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