- Publicaton Date
- May 2019
- Standard Number
- Paul Mellon Centre for Studies in British Art and Yale Center for British Art
- 1964: A Year of Exhibitions, by Stephen Bann
- Whatever Happened to Delia Derbyshire? Delia Derbyshire, Visual Art, and the Myth of her Post-BBC Activity, by David Butler
- Delia Derbyshire: The Myths and the Legendary Tapes, a film and interview with Caroline Catz
- Letters from the Home Front: The Alternative War Art of Robert Colquhoun and Robert MacBryde, 1940–1945, by Sophie Hatchwell
- Cumbrian Cosmopolitanisms: Li Yuan-chia and Friends, by Hammad Nasar
- Transatlantic Transactions and the Domestic Market: Agnew’s Stock Books in 1894–1895, by Barbara Pezzini and Alan Crookham
- The Kitchen Sink Too, a cover collaboration with Abi Shapiro
Objects in Motion
Projects in the series examine cross-cultural dialogues between Britain and the United States, and may focus on any aspect of visual and material culture produced before 1980. The aim of Objects in Motion is to explore the physical and material circumstances by which art is transmitted, displaced, and recontextualised, as well as the transatlantic processes that create new markets, audiences, and meanings.
The first article in this series by Barbara Pezzini and Alan Crookham uses the case study of a prominent firm of art dealers, Thos. Agnew and Sons (Agnew’s), to present a methodological discussion of how digital tools can be used to investigate circulation and transnational exchange in the historical art market.
This series is made possible through support from the Terra Foundation for American Art.
Animating the Archive
Working with Stephen Bann, the journal has developed a new feature called “Animating the Archive,” which allows authors to annotate and contextualise curated selections of archival material. In his feature,1964: A Year of Exhibitions, Stephen Bann reflects on the diverse sources of intellectual and artistic inspiration – exhibitions, literary journals, essay collections, collaborations, and travels abroad – that shaped his thinking as a young art critic in the early 1960s. Readers may navigate the material chronologically, or explore it in a non-linear fashion.
Proposals for further “Animating the Archive” features are invited.