Articles on the theme of transatlantic artistic relations have been commissioned and brought together for Tate Papers by Martin Hammer and David Peters Corbett. The editorial team is extremely grateful to both for their skilled co-ordination of this group of eight articles, reflecting new research into this topic. Malcolm Bradbury, ‘Stepping Westard’, unpublished afterword, http://www.malcolmbradbury.com/fiction_stepping_westward.html, accessed 15 April 2017. Secret Knowledge: Rediscovering the lost techniques of the Old Masters (Expandeded.). Thames & Hudson; Viking Studio. [150]

The New Yorker David Hockney Rediscovers Painting - The New Yorker

We have prioritised access for Friends and supporters but cannot guarantee access if time slots are fully booked. Well, yes, there are some. I’m not sure if there are any getting quite to my way of thinking yet, but they might. I’ve always followed printing, I’ve always been interested in it, and I’ve always known that pictures get known by being reproduced. But they’ve also got to be memorable. You need memorable pictures. And I’ve painted quite a few memorable pictures, haven’t I? and Jonathan Silver and my sister’s partner, Ken Wathey. All and many more were part of his life. He chatted with them, shared ideas with them, and loved them.But here is a work that you did with photographs, about photographs, although you call it a “photographic drawing.” The Cultural Award of the Deutsche Gesellschaft für Photographie (DGPh)". Deutsche Gesellschaft für Photographie e.V. . Retrieved 7 March 2017. During the 1950s there was widespread interest in gay circles in Whitman as gay forbear: see Gavin Butt, Between You and Me, Durham and London, 2005, pp.57–9, and Michael Davidson, Guys Like Us: Citing Masculinity in Cold War Poetics, Chicago 2004, Chapter 4. While the date of My Bonnie Lies Over the Ocean can be pinned down precisely, there is no documentary evidence for exactly when Boshier created England’s Glory, although the autumn term of 1961 seems most likely. Whatever the direction of interchange, however, this juxtaposition highlights a shared immersion in issues of identity, and in exploring through their work what it felt like to be British at a moment of increasing American domination, on cultural, economic, military and many other fronts.

The California of David Hockney is dead. Harry and Meghan

On the currency and importance of gossip within the gay sub-culture, and its role as art historical evidence, see Butt, Between You and Me. Ranked: the top ten most popular shows in their categories from around the world". The Art Newspaper. 26 March 2018 . Retrieved 18 April 2018. Progress Medal". The Royal Photographic Society. Rps.org. Archived from the original on 22 August 2012 . Retrieved 14 August 2012. I can’t stand that long. I have to sit now, right here [on a chair with wheels, set in front of an easel].Our collection Artists Artworks Art by theme Explore Videos Podcasts Short articles In depth Art Terms Tate Research Student resources Make art Create like an artist Kids art activities Tate Draw game The 1959 version of Rivers’ The Last Civil War Veteran is in the collection of the Museum of Modern Art, New York, and was reproduced in B.H. Friedman (ed.), School of New York: Some Younger Artists, New York 1959. The 1961 version is in the collection of the Fine Arts Museums of San Francisco de Young Museum. If there is a single contemporary British work that shares the thematic and artistic concerns of My Bonnie Lies Over the Ocean, it is the painting England’s Glory (1961; fig.4) by Derek Boshier. Across the media divide, affinities between the two images include the incorporation of both British and American flags, and a suggestion of interchange across a watery expanse; the fusion of such bold, colourful, geometric elements with montage-like passages of more complex and fluid imagery, and with gestural marks; the incorporation of words on a variety of scales; and an overall informality and visual congestion of pictorial structure. The Boshier painting has been discussed in relation to the currency in his early work of the theme of ‘American influence and, most especially, American corporate and military power’. 39 See Russell Ferguson, In Memory of My Feelings: Frank O’Hara and American Art, Berkeley, CA, London 1999, pp.50–9.