EDITORIAL 2018

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2018 // Editorial

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We are proud to present the 2018 issue of immediations featuring articles which pose questions regarding the role of the artist and architect in society and spanning broadly across artistic time and media.

Peter Crack considers an inscription on an Italian drawing which provides a fascinating insight into the meals of an unidentified sixteenth-century artist and investigates how word and image interact. Utilising an iconographic methodology, Kyle Leyden reveals the visual self-fashioning of the Bank of Ireland (formerly the Parliament House) in Dublin, a building saturated in historic, political and symbolic meanings. Meanwhile, Emma Merkling argues that the paintings of Albert Moore (1841-1893) are works about differing levels of consciousness and sensate experience. Last but not least, through an investigation of Fantaisie en Folie by Robert Brough (1872-1905), Thomas Cooper considers how the painting might be understood in terms of the relationship between the self and the world.

Now in its fifteenth year, immediations has built a reputation for publishing innovative peer-reviewed art history. We are excited to contribute further exceptional research, showcasing the scholarship of The Courtauld Institute’s postgraduate community and raising questions regarding tradition and artistic practice. These questions relate to the work of our cover artist, Bethany Burgoyne (b. 1991). Fancy a chat? (2018), a mixed media collage, was made whilst traveling with only one backpack, challenging Bethany to work with materials that she could use on the move: found objects, ready-mades, things deemed worthless. The finished piece is a still from a stop-motion animation series, made by photographing these found objects and sitting them on a lightbox. Members of the editorial group interviewed Bethany and the wide-ranging dialogue touched upon her career, influences and artistic processes. We are delighted to include this conversation in immediations.

The issue also features book reviews by Oliver Mitchell and Wiktor Komorowski addressing broad methodological and geographic issues from the Middle Ages to the twentieth century. Reviews of recent exhibitions include the once-in-a-lifetime show at the Royal Academy, Charles I: King and Collector which is discussed by Giulio Dalvit. Genevieve Verdigel, on the other hand, looks collectively at the exhibitions at the The Wallraf-Richartz Museum, Musée du Luxembourg, Galleria dell’Accademia and The National Gallery of Art that marked the five-hundredth anniversary of the birth of the Venetian artist, Jacopo Tintoretto (1518/19-94). Finally, Natasha Morris reviews the hugely-anticipated Frida Kahlo: Making Her Self Up at The Victoria and Albert Museum.

The 2018 issue is available both in print and online, allowing immediations to be as widely accessible as possible and at the forefront of providing scholars in the arts and humanities with open access to new research and writing. We extend our warmest thanks to our External Advisory Group, Dr Alixe Bovey and the staff of the Research Forum, our designers Fern Insh (online) and Janina Zylinska (print), Karin Kyburz (picture researcher) Maggie Crosland (Editor-in-Chief, immediations 2017) and Bethany Burgoyne.

This issue of immediations has been edited by Teresa Lane and Talitha Schepers with the assistance of the editorial group: Adriana Concin, Caitlin Doley (Reviews Editor), Bryan Keene, Ana-Maria Milcic, Harry Prance, Saskia Rubin and Tilly Scantlebury – they have our sincerest thanks.

Teresa Lane and Talitha Schepers (Editors-in-Chief)

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