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 ...

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In 1886 the philosopher Friedrich Nietzsche declared the sublime out of date.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 ...

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

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 ...

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

In this minimal study, loose areas of grey and yellow washes are activated by the delicate application of a cluster of thin blue strokes applied wet in wet at the centre to evoke a formation of high ...

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 ...

Suspended, collapsed, stacked, wrapped or folded, the works of Phyllida Barlow spring from an interrogation of some of the most fundamental aspects of sculpture: its physical attributes and its ...

From ‘The Tenth Plague of Egypt’ exhibited 1802, JMW Turner, N00470, Tate Collection ...

Graffiti art has its origins in 1970s New York, when young people began to use spray paint and other materials to create images on buildings and on the sides of subway trains. Such graffiti can range ...

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