Edmund Burke’s Philosophical Enquiry (1757) connected the sublime with experiences of awe, terror and danger. Burke saw nature as the most sublime object, capable ...

Emerging alongside a network of notable figures such as Scarlett Cannon, Boy George and Princess Julia, Bowery cemented his ...

Examining the idea of being ‘machine-like’ and its impact on the practice of automatic writing, this article charts a history of automatism from the late nineteenth century to the present day, ...

Fig.2 John Constable The Cornfield 1826 National Gallery, London Born into a prosperous family in the village of East Bergholt, Suffolk, Constable’s early display of aptitude and passion for painting ...

In 1886 the philosopher Friedrich Nietzsche declared the sublime out of date. A number of artists of early and mid-twentieth century continued to engage with concepts of the sublime, though often in ...

Contemporary artists have extended the vocabulary of the sublime by looking back to earlier traditions and by engaging with aspects of modern society. They have located the sublime in not only the ...

Rothenstein did not like to think of himself as a scholar and would claim in the memoirs he wrote in the early 1930s that ‘I was never a real student of the arts, and preferred pottering about the ...

The exhibition’s title ‘Walk the House’ is drawn from a Korean expression referring to the hanok – a house that could ...

Keen to present the latest American painting to British audiences, the Tate Gallery secured a place for itself in the international tour of an impressive grouping of works drawn from the collections ...

The sublime in art, it has often been suggested, starts with Edmund Burke’s Philosophical Enquiry (1757). Before this, so the conventional narrative goes, the sublime was a notion that applied only to ...

Andrew Cummings reports on a talk by the artist Tehching Hsieh, featuring a response from Amelia Groom (editor of Time in the Documents of Contemporary Art publication series) and a discussion ...

Louise Nevelson once noted that ‘artists are born collectors’.1 The artist herself was a life-long collector and that pastime ultimately came to inform how she worked, culminating in her monumental ...