In summer 2014, London’s Southbank Centre hosts the Festival of Love. Visitors can play games and dance, attend exhibitions, or watch performances: they are encouraged to engage with the structures of meaning around exhibitions of intimacy. Anna Blair reflects on the Festival’s nostalgic aesthetic, and on the ways in which engagement with others can be shaped and formed by place.
Exhibitions marking the beginning of the First World War are almost mandatory in British museums this year. At the same time, the question of how to remember or examine the events of 1914 has caused division, particularly following Michael Gove's criticisms of academic history. In this article, the first in the new column 'Picture Politics,' Anna Blair looks at the Fitzwilliam Museum's La Grande Guerre and the ways in which the prints on display serve as an exercise in examining detail, both attracting the viewer and deepening their awareness of the horrors of war.
The recent discovery of 1,406 artworks confiscated in Nazi Germany, thought lost forever, is the beginning of both an art historical fantasy and a legal quagmire. The facts are astonishing in themselves: border police stopped Cornelius Gurlitt on a train from Switzerland, found him suspicious and began a tax evasion investigation, only to discover his apartment harboured paintings, drawings and prints acquired mostly under dubious circumstances by his father, Hildebrand […]