Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
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Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
IN ADVANCE OF a consideration of the impact of government cuts to the arts in Britain – slicing deeper in the coming months – it is worth looking at the situation in the United States, since we last commented on it a year ago.1 As the country slowly pulls out of recession and economic crisis, art museums and similar organisations are gradually rebuilding endowments and reviving programmes that have been temporarily suspended. But this does not mean a comfortable return to business as usual.
An examination of the painting Package deal (1956) by Stuart Davis considering the possible origins and significance of the American slang words used in the image.
A short account of Cy Twombly's Untitled (Bacchus), 2006–08, and its current installation at Tate Modern where it is on loan.
Through a sleekly designed and prize-winning milking machine, with an uncanny resemblance to a sleeping head by Brancusi, this article investigates the borderline of industrial design and fine art in museum display.
An examination of some unpublished photographs by Alvin Langdon Coburn of the Vorticists, including Wyndham Lewis and Edward Wadsworth, which record no longer extant paintings. Published to coincide with the exhibition The Vorticists: Rebel Artists in London and New York, 1914-1918 at the Nasher Museum of Art, Durham (30th September to 2nd January).
A proposed reattribution of the painting Vorticist composition (c.1915) in the Museo Thyssen-Bornemisza, Madrid, originally attributed to Edward Wadsworth, but here given to Helen Saunders.
