... 126 eddie marsh ... Ross also arranged Marsh's purchase of Herbert Horne&... more ... 126 eddie marsh ... Ross also arranged Marsh's purchase of Herbert Horne's collection of 200 English drawings which, to Brinsley Ford, reflected 'the taste of a man far in advance of his times, who preferred the sketch, however slight [as] the intimate impression of an artist'.21 The ...
In the early 1900s John Quinn (1879–1924), Ohio-born son of Irish Catholic immigrants, was establ... more In the early 1900s John Quinn (1879–1924), Ohio-born son of Irish Catholic immigrants, was establishing a successful financial law career in Manhattan and had begun what became an all-consuming passion, collecting. At first he collected literature, especially Walter Pater, Thomas Hardy, William Morris and George Meredith, autograph manuscripts where possible, and then fine art, initially prints and drawings. Quinn himself was to be a key driver behind the 1913 Armory Show in New York and, in the years around the First World War, an increasingly prodigious collector of French modernism in particular, a process made all the easier by his own success that year in driving through anti-tariff legislation on the import to America of original works of art. The later development of Quinn's art collecting has been widely discussed, most notably in 1978 by the art historian and museum curator Judith Zilczer, and his life as a whole very closely detailed a decade earlier in Benjamin L. Reid's 1968 Pulitzer Prize-winning The Man from New York. My focus in this article is on the shifts and transformations of Quinn's earlier patterns of collecting from the turn of the century up to and including his interests in Vorticism, on his Irish collection in particular and on exploring Quinn's practices in relation to some recent studies of transnationalism, transculturation and the nature and operation of transatlantic networks in the market for art.
This Special Issue of Arts investigates a series of creative projects focused upon and sited with... more This Special Issue of Arts investigates a series of creative projects focused upon and sited within certain peripheral landscapes of northern Britain [...]
With a relational view of landscapes and natural environments as continuously “in process” and fo... more With a relational view of landscapes and natural environments as continuously “in process” and formed from the over-layered and interdependent connections between nature and culture, the human and the non-human, this paper considers some recent practices by artists who have worked in the largely rural border region of Northern England and Southern Scotland. Expanding from a focus on the artist Tania Kovats’ 2019 Berwick Visual Arts exhibition, Head to Mouth, and a wider frame of non-anthropocentric ecological thought in relation to the visual arts, it explores the significance of diverse creative engagements with water, here with the River Tweed, and their potential value in a current cross-border context of social and environmental challenges and concern.
i cies.html This document may differ from the final, published version of the research and has be... more i cies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher's website (a subscription may be required.
... These reinforced an authentic 'hands-on' character and underlined its proxi... more ... These reinforced an authentic 'hands-on' character and underlined its proximity to the typical origins of early commercial art galleries: as an ... done what the Post-Impressionists have only been trying in vain to do; and Chelsea sets the tone in modern English art, so that ...
Recent times have seen much reflection on the nature of the Anglo-Scottish border region; its pas... more Recent times have seen much reflection on the nature of the Anglo-Scottish border region; its past, present and potential future. Political concerns have rightly absorbed much of the attention, but at the same time important light has been shed on the legacy of cultural engagements and forms of interaction that might be said to perform and produce this border over time and render it particularly distinctive. A soft, internal border, the territory considered in this article is one with an ancient feudal past and a heavily conserved, preserved and, in parts, still militarized present. It is predominantly rural and characterized by large swathes of forestry, agriculture, and moorland, all of which raise issues of aesthetic and environmental, as well as social and economic sustainability. The concern in the case studies presented in this article is how, through the relational and processual perspectives of border studies and cultural landscapes, we might comprehend the over layered and sedimented histories, the nature of identities, heritage and experience of place here. I consider too the ways in which recent forms of creative practice are contributing to a wider investigation of this region and reconceptualizing the cultural significance of the border.
This document may differ from the final, published version of the research and has been made avai... more This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher's website (a subscription may be required.) 'A Hut on Holy Island: Reframing Northern Landscape' This essay explores the evolution and significance of a shelter constructed in 2002 by the artist Sally Madge on a remote beach on Holy Island, off the northeast coast of Northumberland. In the context of a legacy of cultural interactions with and representations of this island-a popular tourist destination-the concern is with how the simple structure might be understood in terms of a potential refiguring of a heavily prefigured location, enabling an alternative, even transgressive notion of place, disturbing preconceived boundaries between artists, community, insiders and outsiders and so engendering a new way of thinking about northern peripheries. In the process the essay considers recent examples of public art; from the increasingly design-practice led, spectacular structures at Kielder Reservoir Sculpture Trail, to Charles Jencks' monumental earth sculpture, Northumberlandia constructed out of the top-soil excavated from an open-cast coal mine at Shotton. By contrast, the specific character of the Holy Island shelter and the nature of the practices associated with it unsettle some of our assumptions about place and the rhetoric underpinning art and creativity.
... 126 eddie marsh ... Ross also arranged Marsh's purchase of Herbert Horne&... more ... 126 eddie marsh ... Ross also arranged Marsh's purchase of Herbert Horne's collection of 200 English drawings which, to Brinsley Ford, reflected 'the taste of a man far in advance of his times, who preferred the sketch, however slight [as] the intimate impression of an artist'.21 The ...
In the early 1900s John Quinn (1879–1924), Ohio-born son of Irish Catholic immigrants, was establ... more In the early 1900s John Quinn (1879–1924), Ohio-born son of Irish Catholic immigrants, was establishing a successful financial law career in Manhattan and had begun what became an all-consuming passion, collecting. At first he collected literature, especially Walter Pater, Thomas Hardy, William Morris and George Meredith, autograph manuscripts where possible, and then fine art, initially prints and drawings. Quinn himself was to be a key driver behind the 1913 Armory Show in New York and, in the years around the First World War, an increasingly prodigious collector of French modernism in particular, a process made all the easier by his own success that year in driving through anti-tariff legislation on the import to America of original works of art. The later development of Quinn's art collecting has been widely discussed, most notably in 1978 by the art historian and museum curator Judith Zilczer, and his life as a whole very closely detailed a decade earlier in Benjamin L. Reid's 1968 Pulitzer Prize-winning The Man from New York. My focus in this article is on the shifts and transformations of Quinn's earlier patterns of collecting from the turn of the century up to and including his interests in Vorticism, on his Irish collection in particular and on exploring Quinn's practices in relation to some recent studies of transnationalism, transculturation and the nature and operation of transatlantic networks in the market for art.
This Special Issue of Arts investigates a series of creative projects focused upon and sited with... more This Special Issue of Arts investigates a series of creative projects focused upon and sited within certain peripheral landscapes of northern Britain [...]
With a relational view of landscapes and natural environments as continuously “in process” and fo... more With a relational view of landscapes and natural environments as continuously “in process” and formed from the over-layered and interdependent connections between nature and culture, the human and the non-human, this paper considers some recent practices by artists who have worked in the largely rural border region of Northern England and Southern Scotland. Expanding from a focus on the artist Tania Kovats’ 2019 Berwick Visual Arts exhibition, Head to Mouth, and a wider frame of non-anthropocentric ecological thought in relation to the visual arts, it explores the significance of diverse creative engagements with water, here with the River Tweed, and their potential value in a current cross-border context of social and environmental challenges and concern.
i cies.html This document may differ from the final, published version of the research and has be... more i cies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher's website (a subscription may be required.
... These reinforced an authentic 'hands-on' character and underlined its proxi... more ... These reinforced an authentic 'hands-on' character and underlined its proximity to the typical origins of early commercial art galleries: as an ... done what the Post-Impressionists have only been trying in vain to do; and Chelsea sets the tone in modern English art, so that ...
Recent times have seen much reflection on the nature of the Anglo-Scottish border region; its pas... more Recent times have seen much reflection on the nature of the Anglo-Scottish border region; its past, present and potential future. Political concerns have rightly absorbed much of the attention, but at the same time important light has been shed on the legacy of cultural engagements and forms of interaction that might be said to perform and produce this border over time and render it particularly distinctive. A soft, internal border, the territory considered in this article is one with an ancient feudal past and a heavily conserved, preserved and, in parts, still militarized present. It is predominantly rural and characterized by large swathes of forestry, agriculture, and moorland, all of which raise issues of aesthetic and environmental, as well as social and economic sustainability. The concern in the case studies presented in this article is how, through the relational and processual perspectives of border studies and cultural landscapes, we might comprehend the over layered and sedimented histories, the nature of identities, heritage and experience of place here. I consider too the ways in which recent forms of creative practice are contributing to a wider investigation of this region and reconceptualizing the cultural significance of the border.
This document may differ from the final, published version of the research and has been made avai... more This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher's website (a subscription may be required.) 'A Hut on Holy Island: Reframing Northern Landscape' This essay explores the evolution and significance of a shelter constructed in 2002 by the artist Sally Madge on a remote beach on Holy Island, off the northeast coast of Northumberland. In the context of a legacy of cultural interactions with and representations of this island-a popular tourist destination-the concern is with how the simple structure might be understood in terms of a potential refiguring of a heavily prefigured location, enabling an alternative, even transgressive notion of place, disturbing preconceived boundaries between artists, community, insiders and outsiders and so engendering a new way of thinking about northern peripheries. In the process the essay considers recent examples of public art; from the increasingly design-practice led, spectacular structures at Kielder Reservoir Sculpture Trail, to Charles Jencks' monumental earth sculpture, Northumberlandia constructed out of the top-soil excavated from an open-cast coal mine at Shotton. By contrast, the specific character of the Holy Island shelter and the nature of the practices associated with it unsettle some of our assumptions about place and the rhetoric underpinning art and creativity.
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