Steve_Bamlett_blog

I was always fascinated by the lines in T.S. Eliot’s The Waste Land that follow: Mr. Eugenides, the Smyrna merchant 209 Unshaven, with a pocket full of currants Why is Eugenides so fabulously identified as a Greek and why a Greek from Graecia Magna, Smyrna? Usually they are glossed in terms of the reference that follows to … More BLOG: What is a world literature? What is the world in Literature?: Beginning to read the first chapters of Mark Haddon’s ‘The Porpoise’.

Here are two stunning artists. I loved the Tanning show – not as popular as the Bonnard one. Hence you could see the installations, soft sculptures and paintings so much more easily than Bonnards’s canvases. The show is brilliantly curated with an excellent film showing at its terminus. Yet for me the comparison involved in … More Dorothea Tanning and Bonnard seen together at Tate Modern

Edvard Munch: Love and Angst at The British Museum Seen 03/05/2019 The British Museum is a great curator of prints and this shows in their wonderful catalogue to this show. However, I felt that the show itself added little to the stupendous contribution of the catalogue. Of course it is wonderful to see the prints … More ‘Edvard Munch: Love and Angst’ at The British Museum Seen 03/05/2019

THE EY Van Gogh & Britain Exhibition: Tate Britain Seen 02/05/2019 Let’s get the worst over. Seeing this exhibition is a nightmare if like me you are appalled by the victory of ineffective management processing of large numbers of people over curatorial innovation – the numbers distract and overwhelm as thousands press towards each painting … More THE EY ‘Van Gogh & Britain’ Exhibition: Tate Britain Seen 02/05/2019

The CC Land Pierre Bonnard exhibition Tate Modern visited 03/05/2019 I felt a lot of fear visiting here. The over-crowding was evident and disturbing and definitely detracted from an experience that was otherwise worthy of being waited for – to see some of the most intriguing and wonderful paintings of the twentieth-century for yourself. So … More The CC Land ‘Pierre Bonnard’ exhibition Tate Modern visited 03/05/2019

Rosmerholm Duke of York’s Theatre Seen 03/05/2019 This wonderful play shimmers with all the lights and darks of great theatre – wonderfully adapted text, brilliant direction and staging from design to lighting to on-stage-proxemics. You also wonder – how will they do the flood? Answer: here brilliantly! And the acting is tremendous. Tom Burke looks … More Ibsen’s ‘Rosmerholm’ Duke of York’s Theatre Seen 03/05/2019

This was a long-awaited treat that more than met its promise. The show has set out to find the ‘nude’ meaningful and, as a result given food for thought on so much that mattered to the European Renaissance and beyond. Issues of gender, truth, the notion of design as either divine or human or both, … More ‘The Renaissance Nude’ Royal Academy visited 02/05/2019

List of figures referred to below: E Martyrdom of Saint Sebastian, AH281 (1958)Oil on hardboard 88.9 x 120.7 cm. Bradford Museums and Galleries. Available at: https://artuk.org/discover/artworks/the-martyrdom-of-saint-sebastian-23516 (Accessed 27/04/19) F Assembly of Figures, AKA First Assembly of Figures, AH129 (1952)Oil on board 142.2 x 116.8 cm. Sainsbury Centre for Visual Arts, Norwich.  Available at: http://www.thekeithvaughansociety.com/2016/11/24/first-assembly-figures-1952/ (Accessed … More Thinking about a piece of work on Keith Vaughan

This is a beginning book list before I finish writing the 2000 word assignment. It will be the bones of the bibliography for the work – minus annotations. I started by annotating works that were easy to annotate but have read all of them once they were included. Some titles are self-explanatory (*). The real … More Final version of some annotated references for a project on May 1968 in Paris.

The issues raised by the case studies in Block 4 of A844 are said to exemplify “categories of the visual and material that have demystified the role of the artist, and challenged the notion of what is an art object and who can produce art.” Nowhere was the role of the creative individual artist more … More A framework for a question on the artefacts of May 1968.

On Chapter 3 of: Bishop, C. (Ed.) (2012) Artificial Hells: Participatory Art and the Politics of Spectatorship London & New York, Verso (references to Kindle ed. – uses Loc. Numbers not pages). Bishop rarely engages with the ‘art’ of ’68 itself (outside of a rather nice Lebel quotation), except for the Atelier Populaire’s 1968 Poster … More Art and Arting Around: Bishop’s 1968 in France