Art, Scholarship, Community: Experiences of Viewing

Authors

  • Alice Eden History of Art Department, University of Warwick
  • Alice Eden History of Art Department , University of Warwick

DOI:

https://doi.org/10.31273/eirj.v4i2.162

Keywords:

art, community, viewing, collaboration, inter-disciplinarity, public engagement, spirituality, emotion

Abstract

This critical reflection originated in a visit to the ‘Artists and Academics’ exhibition held at Fargo Creative Village, Coventry, 26 November 2016. My thoughts about the exhibition have served as a springboard to consider ideas of scholarship, art and community more broadly. I use my research on British artists from the early twentieth century, their ideas about the processes of viewing art and the spiritual in art, to discuss examples in the exhibition. I conclude by considering how this collaborative event can bring academic ideas into conversation with artworks. I suggest that the resulting exchanges may enable viewers to think differently about art and scholarship as well as enrich academic practice.

 

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Author Biography

  • Alice Eden, History of Art Department, University of Warwick

    Early Career Fellow

    The Institute of Advanced Study

References

Unpublished:

Eden, Alice, (2016), ‘Women, representation and the spiritual in the paintings of Thomas Cooper Gotch, Robert Anning Bell and Frederick Cayley Robinson’, unpublished PhD thesis, University of Warwick

Gotch, Thomas Cooper, (1919), ‘Revolution in Art’, transcript of lecture, Tate Archive, London: TGA 9019/2/6/37-38

Gotch, Thomas Cooper, 'Phases of Art: Past', (19th April, 1898), transcript of lecture, Tate Archive, London: TGA 9019/2/6/2-12, TGA 9019/2/6: Writings and Papers

Gotch, Thomas Cooper, ‘Phases of Art: Present,' (26th April, 1898), transcript of lecture, Tate Archive, London: TGA 9019/2/6/2-12, TGA 9019/2/6: Writings and Papers

Moore, Daniel, (Forthcoming), British Modernism and Public Taste: OUP

Primary:

Bell, Robert Anning, (1921), ‘Take Art to the Public: Professor Bell’s Views’, The Times, 18th March, 1921, p.11

Freud, Sigmund, (2008, orig. 1899), The Interpretation of Dreams, translated by Joyce Crick, Oxford: Oxford University Press

Hind, C. Lewis, (1904), ‘Ethical Art and Mr F. Cayley Robinson’, The Studio, 31, 235- 241

Secondary:

Borzello, Frances, (1987), Civilising Caliban: The Misuse of Art 1875-1980, London: Routledge & Kegan Paul

Brantlinger, Patrick, (1988), Rule of Darkness: British Literature and Imperialism, 1830-1914, Ithaca and London: Cornell University Press

Christian, John, (ed), (1989), The Last Romantics: The Romantic Tradition in British Art: Burne-Jones to Stanley Spencer, London: Lund Humphries in association with the Barbican Art Gallery, [exhibition catalogue, Barbican Art Gallery, London, 9 Feb – 9 April 1989]

Eden, Alice, (2012), ‘Robert Anning Bell in Liverpool: Arts and Crafts and the Creation of a Civic Artistic Culture, 1895-9’, The Burlington Magazine, Volume CLIV, Number 1310, 345-350

Facos, Michelle, (2009), Symbolist Art in Context, Berkeley, Los Angeles, London: University of California Press

Kandinsky, Wassily, (2006, orig. 1907), Concerning the Spiritual in Art, translated by Michael T.H. Sadler, London: Tate

MacCarthy, Fiona, (2010), William Morris: A Life for Our Time, London: Faber and Faber

Oppenheim, Janet, (1985), The Other World: Spiritualism and Psychical Research in England 1850-1914, Cambridge: Cambridge University Press

Selley, Clare, (2009), Coventry: Hidden in Plain Sight, Breedon Books Publishing, Derby

Dolls house classroom

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Published

2017-04-30

Issue

Vol. 4 No. 2 (2017): April

Section

Collaboration

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