• 1 October 2014
  • 6:00 – 8:00 pm
  • Sainsbury Wing Theatre, Paul Mellon Centre

Lynda Nead’s talk this evening is the first in a short series of three evening research seminars focusing on modern art and visual culture in 20th-century Britain. This is an area of studies in British art that has been animated in recent years by some of the most innovative, the most rigorous, the most methodologically daring and the most beautifully written scholarship in our field. And it is this work that we want to celebrate and engage with in this series. We have invited three art historians to participate whose work has changed the landscape of the history of British art.

Studies in 20th-century British art have changed radically in the last decade or so – the critical interrogation of the relationship of such capacious terms as modernism and modernity to British art and culture has opened up new vistas, new paths and possibilities – this has included the serious examination of artists who have been placed well and truly in the ‘wide margins of the century’, an engagement with diverse practices and processes of image production and reproduction, and a rethinking of artistic identities, gender and sexuality, to name but a few strands.

A black and white photograph of a war torn street with children playing

Untitled, Ron Chapman

About the speaker

  • Headshot of Lynda Nead with window in background.

    Lynda Nead is Pevsner Professor of History of Art at Birkbeck, University of London. She has published widely on a range of art historical subjects and particularly on the history of British visual culture in the nineteenth and twentieth centuries. Her most recent book is The Tiger in the Smoke: Art and Culture in Post-War Britain (Published for the Paul Mellon Centre for Studies in British Art by Yale University Press). She has a number of advisory roles in national art museums and galleries and is a Trustee of the Holburne Museum and of Campaign for the Arts. She is currently writing a book called British Blonde: Women, Desire and the Image in Post-War Britain.