1
4. Art & Sociology
Prof Kenneth G. Hay
The University of Leeds, UK
2
Art History and the Sociology of
Art in the UK 1945-present.
n  29 Art History Departments and 81 Art &
Design Departments in the UK 2018
n  Courtauld Institute, London - Centred around
the German-Jewish emigrées from Hitler’s
Germany; Samuel Courtauld, Erwin Panofsky,
Aby Wittkower, Fritz Saxl, Edgar Wind
(narrowly missing Walter Benjamin)
n  The University of Leeds - Department of Fine
Art, From Quentin Bell, Arnold Hauser,
Lawrence Gowing, John Tagg, to T.J.Clark,
Terry Atkinson, Griselda Pollock, Fred Orton
and ‘The New Art History’.
n  Goldsmith’s University, London -teachers
Michael Craig-Martin and Jon Thompson,
Victor Burgin, inspired the generation of
Young British artists including Damien Hirst,
Sarah Lucas, Tracey Emin,
n  Other Centres include, Oxford, Cambridge, St
Andrews, Warwick, Sheffield, Exeter, Newcaste,
Reading, Lancaster, Edinburgh, Glasgow,
Nottingham, Manchester, Middlesex Univeristy,
Kingston, Bristol, Dundeed, Herriot-Watt, De
Montfort, Lincoln, Falmouth, Norwich, Cardiff,
Belfast…
Turner Prize-Winner, (2012) Elizabeth Price, who studied at Leeds
for her Ph.D and visited Brno on our first exchange project.
3
Ernst H.J.Gombrich (1909-2001)
n  B. Vienna; studied art history under Julius von
Schlosser and Emmanuel Loewy at the
University of Vienna
n  Gombrich published his one-volume “The Story
of Art” (1950), (originally intended for teenagers),
just one year before Arnold Hauser's
study.
n  Gombrich's crushing review of Hauser’s book
was published originally in The Art Bulletin,
March 1953, and later in “Meditations on a
Hobby Horse” (1963), a collection of essays. It
was a combination of academic arrogance and
cheap shots, driven fundamentally by a Cold
War hatred of anything ‘sociological’
n  Instead, Gombrich aligns himself of his friend,
the philosopher Karl Popper, whose “Open
Society and its Enemies” (1945) attacked what
they saw as ‘totalitarian’ ideas from Plato to
Hegel and Marx.
n  Follows the ttraditional school of stylistic
analysis and iconography devised by the
Courtauld scholars Panofsky, Wind, Saxl and
Warburg.
n  His title ‘Story’ as against Hauser’s ‘History’
suggests an invented narrative, rather than a
definitive text, in keeping with his scepticism
towards ‘master narratives.’.
4
The Warburg and Courtauld
Institutes, University of London
n  The Courtauld Institute was founded in 1932
through the philanthropic efforts of the
industrialist and art collector Samuel Courtauld,
the diplomat and collector Lord Lee of Fareham,
and the art historian Sir Robert Witt.
n  Consistently ranked as the foremost centre for
the study of Art History and curation and
includes many world Museum directors amongst
its alumni.
n  The Warburg Institute originally in Hamburg,
became noted for its huge photographic archive
of artworks. Fritz Saxl, successor to founder,
Aby Warburg, was instrumental in moving the
Institute to safety in London in 1933, where he
settled. Ernst Gombrich became Director in
1959
n  Ernst Cassirer used it as did his pupils Erwin
Panofsky and Edgar Wind.
n  Rudolf Wittkower taught at the Warburg
Institute, London from 1934 to 1956.
5
Arnold Hauser The Social
History of Art (1951)
n  Arnold Hauser was born in Temesvar, Hungary (now
Timisoara, Romania) and studied literature and the history
of art at the universities of Budapest, Vienna, Berlin and
Paris (under Henri Bergson).
n  In 1916 he joined the Budapest Sunday Circle - an
intellectual group around György Lukács and including
Karl MannheimIn a sociologist, the writers Béla Balázs,
and the musicians Béla Bartók and Zoltán Kodály.
n  1921 he returned to Berlin to study economics and
sociology under Ernst Troeltsch.
n  From 1923 to 1938 he lived in Vienna where he began
work on “The Social History of Art”.
n  He lived in London from 1938 until 1977, when he
returned to his native Hungary.
n  From 1951 he was a lecturer on the history of art at the
University of Leeds, and in the late 1950s a visiting professor
at Brandeis University in the United States. While teaching in
Leeds, Hauser's friend Theodor Adorno tried to find an
appropriate position for him at a German university. I
n  In 1959 Hauser became a teacher at Hornsey College of Art in
London. He worked again in the United States in 1963-65 and
then returned to London.He died in Budapest in 1978.
6
Arnold Hauser: “The Social History of Art”
n  The fruit of 30 years of research, Hauser’s “Social History of
Art” covers the production of art from the cave art of Lascaux to
the film age.
n  Exploring the interaction between art and society, Hauser
effectively details social and historical movements and sketches
the frameworks in which visual art is produced in each period..
n  Since the Second World War the discipline of art history has
grown and diversified remarkably, in definition and extent, as
well as its range of theories,methods, analyses and evaluations.
n  Hauser’s account, which is clear in its affiliation to Marxist
principles of historical and social understanding appeared at a
moment when academic art history was still, in Britain at least,
an élite and narrow concern, limited to a handful of university
departments.
n  Though Hauser’s intellectual background was steeped in midEuropean
socio-cultural scholarship of a high order, only a
relatively small portion of which was associated directly with
Marxist or neo-Marxist perspectives, “The Social History of Art”
arrived with the Cold War and its reputation quickly, and
inevitably,suffered from the general backlash against political
and intellectual Marxism which persisted within mainstream
British and American culture and society until the 1960s and the
birth of the New Left.
n  At this juncture, its first ‘moment of reception’, Hauser’s study,
actually highly conventional in its definition and selection of
artefacts deemed worthy of consideration, was liable to be
attacked and even vilified because of its declared theoretical and
political orientation.
7
Arnold Hauser: “The Social History of Art”
n  By the mid-1980s, a later version of Marxism,
disseminated primarily through the development of
academic media and cultural studies programmes, often
interwoven with feminist, structuralist and psychoanalytic
themes and perspectives, had gained (and regained) an
intellectual respectability in rough and ironic proportion to
the loss of its political significance in western Europe and
the USA since the 1930s.
n  Hauser’s study was liable to be seen in this second
moment of reception as an interesting, if, on the whole,
crude, antecedent within the development of a disciplinary
specialism identified with contemporary academic art and
cultural historians and theorists such as Edward Said,
Raymond Williams, Pierre Bourdieu and T.J.Clark.
n  By the 1980s, however, Hauser’s orthodox choice of
objects of study, along with his unquestioned reliance on
the largely unexamined category of ‘art’—seen by many
adherents of cultural studies as inherently reactionary—
meant that, once again, his history could be dismissed,
this time primarily on the grounds of its both stated and
tacit principles of selection.
n  Despite the limitations of its overarching ambitions and its
reliance on pre-existing categories of art and history, the
book retains its value as a comprehensive overview of
social and historical factors at play in the creation of
artworks throughout the ages.
n  Hauser's suggestion that art does not merely reflect but interacts
with society is a widely accepted premise. He also saw the art
establishment and art reviewers as servers of commercial
interests.
n  The new 1999 edition contains a strong critical analysis by
Jonathan Harris of Keele University.
8
Max Klingender, “Art and the
Industrial Revolution” (1947)
n  b.1907 in Goslar, Germany of English parents.
n  Lecturer in sociology at University of Hull, UK
n  A pioneering account of the impact of the new
industry and technology on the urban landscape
of England and its people.
n  Klingender analyses the inter-action between
sociological, scientific, and cultural changes that
moulded the 19th-century. He looks at the
developments of railways to the poetry of
Erasmus Darwin, bridge construction, aqueducts
and aesthetic concepts such as the Sublime and
the Picturesque, from Luddite riots and the
English ‘navvy’ (labourer) to those artists most
profoundly affected by the Industrial Revolution:
John Martin, Joseph Wright of Derby,
J.C.Bourne and J.M.W.Turner.
n  Almost universally praised for its breadth of
scope, its originality and its readability.
9
Max Klingender, “Marxism and
Modern Art” (1943)
n  This short work starts with a critical survey of
Roger Fry’s ‘Formalism’ before going on to
examine the opposing Realist theories of
Chernychevsky, Plekhanov, Marx and
Engels.
n  After surveying Aesthetic Relativism (in Taine,
Klingender ends with an appraisal of Lenin’s
reflections on Realism, which remains, he feels,
the most appropriate style for proletarian art.
n  Besides his pioneering work on the Industrial
revolution, Klingender, who died at 48 in 1955,
left behind two other original works of art
criticism: “Goya and the Democratic
tradition” (1948), “Animals in Art and Thought to
the End of the Middle Ages”. (1971).
n  He also organised an exhibition of “Hogarth and
English Caricature” (1944), which stimulated the
reappraisal of this neglected art form.
n  Cf Pooke, Grant. Francis Klingender 1907-1955: A Marxist
Art Historian Out of Time. Gill Vista Marx Press, 2007.
10
Raymond Williams (1921 -1988)
n  Raymond Henry Williams was a Welsh
theorist, academic, novelist and critic. He
was an influential figure within the New
Left and in wider culture.
n  His writings on politics, culture, the mass
media and literature made a significant
contribution to the Marxist critique of
culture and the arts.
n  His work laid the foundations for the field
of cultural studies and the development
of an anaytical approach to culture called
cultural materialism, influenced by Marx,
Antonio Gramsci and Louis Althusser.
n  Cultural materialism sees all culture as a
material product, created in specific
social and temporal circumstances, with
specific functions and purposes. As such
it is organised economically and
politically just as much as, for example,
the steel industry.
11
Raymond Williams, “Keywords” (1976)
n  Williams studied in Trinity College Cambridge along with
Eric Hobsbawm.
n  In 1946, he founded the journal ‘Politics and Letters’,
with Clifford Collins and Wolf Mankowitz until 1948.
n  Williams published “Reading and Criticism” in 1950.
n  Inspired by T.S.Eliot’s 1948 “Notes towards the
Definition of Culture”, Williams began exploring the
concept of culture. He first outlined his argument in the
essay "The Idea of Culture", which resulted in the widely
successful book “Culture and Society” (1958). This was
followed in 1961 by “The Long Revolution”.
n  In 1961, as a result of his publications, he was elected
Fellow of Jesus College, Cambridge, then Reader
(1967-74) and Professor of Drama (1974-1983).
n  His work focussed on the interrelationships of language,
literature and society, making use of the work of Gramsci
and Structuralism
n  “Keywords” (1976) is the result of these interests:
n  Neither a defining dictionary nor a specialist glossary, it is
an enquiry into a vocabulary: a shared body of words and
meanings by which we articulate the practices and
institutions known as ‘culture’ and ‘society’.
n  Williams examines how these ‘keywords’ have been
formed, altered, redefined, influenced, modified, confused
and reinforced as historical contexts to give us their
current meaning and significance.
12
Raymond Williams, “Problems
in Materialism and
Culture” (1980)n  A selection of essays written over 20 years on topics ranging from
Victorian theatre to Rudolf Bahro, social Darwinism, advertising,
Utopian fiction, the Welsh Industrial novel and the ‘Bloomsbury
fraction’.
n  Intended as an introduction to his work as a whole
n  Williams demonstrates that culture is a material product with its own
specific socio-historical context, or, as he defined it in “Culture”, "a
realized signifying system."
n  In “Base and Superstructure in Marxist Cultural Theory”, Williams
re-examines the key term ’determinism’ and suggests a more
attentive analysis of the relation between individual and collective
cultural production.
n  In ‘The Bloomsbury Fraction”, Williams takes Leonard Woolf’s
disclaimer that they were ‘just a group of friends’ to task,
suggesting that the group exerted a far greater influence on British
culture and gave credence to many of its members who would not
otherwise have been individually remembered without the ‘group’
identity. Yet Bloomsbury was distinct from the norm of the ruling
class by its libertarian sexuality and by its ‘social
conscience’ (Woolf’s work for the League of Nations, the Cooperative
movement and the Labour Party, which would suggest a
degree of liberalisation of the aristocracy from which it came, but,
argues Williams, “A fraction..often performs this service for its
class.” (p.163)
n  The essay on East German author Rudolp Bahro’s “The
Alternative in Eastern Europe” (1977), described by Herbert
Marcuse as,"the most important contribution to Marxist theory and
practice that has appeared in recent decades”, discusses the
alternatives to Soviet-style Communism, which he believed was
incorrectly called “real socialism” when in reality it was still a class
society. Bahro was imprisoned in the GDR, expelled and eventually
became active in the Green Party in Western Germany after
Perestroika.
13
The Open University
n  Started in 1969 by PM Harold Wilson
n  Open/Flexible learning, with students in 128
countries.
n  One of the biggest universities in the UK for
undergraduate education, with 174,000 students
enrolled, including around 31% of new
undergraduates aged under 25, and more than
7,400 overseas students.
n  The majority of the OU's undergraduate
students are based throughout the United
Kingdom and principally study off-campus.
n  Courses on Arts & Humanities covers Art
History, cultual studies, post-colonial theory, film
and gender studies.
n  one of only three United Kingdom higher
education institutions to gain accreditation in the
United States of America by the Middle States
Commission on Higher Education .
Wilson building at Open University Campus in Milton Keynes, UK.
14
Stuart Hall (1932-2014)
n  Nearly 10 years after he came to England from
Jamaica in 1951, he helped found the first
Centre of Cultural Studies in Birmingham, with
academics Richard Hoggart and Raymond
Williams. It was, he says, a reaction to how fast
Britain was changing after the war, including the
break up of the class structure and the growing
impact of TV and the mass media.
n  Hall’s work focussed on questions of diaspora,
language, ideology, politics, mass culture and
representation.
n  Fom 1979-97: Professor at the Open University
and Visiting Professor at Goldsmiths College,
London.
n  With Jessica Evans he edited “Visual Culture:
The Reader” (1999), a set book for the Open
University
n  Hall extended the scope of Cultural Studies to
encompass race and gender, incorporating the
work of Foucault and French post-structuralism.
15
John Tagg, “The Burden of Representation” (1988)
n  Photographs are used every day as documents
and evidence by the Courts, police,
hospitals,passports, work permits, driving
licences, etc.
n  Some photographs are designed specifically to
be ‘instrumental’ in this way, others can
become so.
n  What mechanisms of power and authority
decide the fate and functions of photographs?
n  And what conceptions of photography does this
involve and what are its consequences?
n  Tagg, formerly Lecturer at Leeds University,
drawing on the work of Althusser and
Foucault, rejects the idea of photography as
passive record of reality and instead traces a
history of photography in terms of its use in
social regulation.
n  The book calls for the rigorous analysis of the
meaning, status and effects of photography and
its functions in the modern state.
16
Roger Taylor, “Art, An Enemy of the
People” (1978)
n  Taylor opposes the dominant trend in British aesthetics:
linguistic and analytic philosophy in favour of a return to
forthright class analysis
n  In his view, culture and artworks as traditionally accepted
are merely ideological products serving the ruling class
and therefore always counter to the interests of the
working class.
n  His opening premise is that art and philosophy are
effectively ‘beyond the reach’ of the ordinary people who
work in menial and service jobs in our society and who
might at most read the tabloid press.
n  He proposes a future cultural inversion where other icons
of popular culture might replace the hallowed cultural
icons of today.
n  The first section deals with a critique of the abstract
understanding of art and culture which Taylor sees as
alienating to ordinary working people. His critique is not
specifically Marxist, and indeed he is critical of Marxist
approaches in general.
n  In examining the history of jazz, (in the final chapter), he
sees it as betraying its origins in the streets of New
Orleans when it aspires to ‘art’ status. Art, for Taylor, is
something which should be resisted.
n  The basic premise of his book has been refuted by Lenin
in his warning about naively ‘accepting’ the current
values and ethics of the working class: Those who
concentrate the attention, observation and consciousness
of the working class exclusively, or even mainly, upon
itself alone are not Social Democrats” (they must
understand the interrelation of all classes in modern
society)
17
Victor Burgin: “The end of Art Theory:
Criticism and Modernity” (1986)
n  B.1941, Sheffield
n  Artist, photographer, author and art
theorist
n  Professor of Fine Art, Goldsmith’s
University, London, Emeritus Professor of
the History of Consciousness, University
of California, Sta Cruz
n  Discusses the institutions of art the sites
where the power/discourse about art is
enacted: i.e.galleries, magazines,
journals, reviews, art fairs, museums,
libraries, art schools etc.
n  These institutions follow their own
structure and are relatively autonomous
and self-perpetuating.
18
Julian Stallabrass, “High Art Lite”: The Rise
and Fall of Young British Art” (1999)
n  Appeared in 1999, when ‘young British
art’ (YBA) was at its peak - Stallabrass, Reader
in Art History at the Courtauld Institute, prefers
his own term “High Art Lite” for the neoconceptual,
provocative art of Damien Hirst,
Tracey Emin, Jake and Dinos Chapman,
Marcus Harvey, Sarah Lucas and others,
obsessed with commerce, mass media and the
cult of personality.
n  Stallabrass charts the rise and critical success of
“High Art Lite”, and concludes with its
destination, limits and contradictions. forcefully
questioning its artistic worth, and how it lost its
critical immunity in the new millenium.
n  He also examines the ways in which artists such
as Hirst, Emin, Wearing and Landy have altered
their work in recent years to adapt to their new
situation.
19
Janet Wolff
n  b. 1943 Manchester
n  Studied Sociology at the University of Birmingham;
influenced by Zygmunt Bauman and Stuart Hall.
n  Lecturer/Senior Lecturer at the University of Leeds
n  1991- 2001 Director of the PhD programme in
Visual and Cultural Studies University of Rochester,
New York,
n  2001-2006 Associate Dean for Academic Affairs in
Columbia University's School of the Arts.
n  Prof Emeritus, University of Manchester.
n  Books include
n  “The Social Production of Art” (1981/93),
n  ”Aesthetics and the Sociology of Art” (1983/1993),
n  ”Feminine Sentences: Essays on Women and
Culture” (1990),
n  ”Resident Alien: Feminist Cultural Criticism” (1995),
”AngloModern: Painting and Modernity in Britain
and the United States” (2003), and
n  ”The Aesthetics of Uncertainty” (2008).
20
Janet Wolff
n  In her published Ph.D, “Hermeneutic Philosophy and the
Sociology of Art” (1975), Wolff investigates how to
account properly within sociology for that which is
aesthetic. Wolff suggests adopting Gadamer and
Habermas’ hermeneutic perspective to counter the lack
of historical perspective in Positivism and
phenomenology.
n  In “The Social History of Art” (1981), surveys the various
modern theories of artistic creation, arguing that the arts
can only be adequately understood in a sociological
perspective, and that art results from a complex of
historical factors.
n  In “Aesthetics and the Sociology of Art” (1983) examines
the contrasting aesthetic views that art and literature are
wholly independent from the socio-economic realm,
following only its own artistic and formal dictates; and that
art is a mere ‘reflection’ of socio-economic circumstances
which wholly determine its form and content. Both are
flawed, argues Wolff, and argues for a more nuanced
approach. Accepting that conceptions and criteria of
aesthetic value are both socially constructed, and
inevitably ideological, whilst accepting the irreducible
aspect of pleasure in aesthetic discourse.
21
Zygmunt Bauman
n  B.1925 Poznán, d.Leeds 1917
n  Sociologist and Professor Emeritus at the University of
Leeds
n  Author of famous concept of “Liquid Modernity” (1999)
to describe the fluid set of relations existing under
globalism and postmodernism.
n  Marked by his personal experience of exile and instability
De 1925 he confronted totalitarianism and relentless
social change. “Modernity and the Holocaust” analyses
the tortured ‘logic’ of the Holocaust while “Buying a Life”
critiques the merchandising of contemporary life.
n  With his base in sociology, Bauman had an enormous
range: Georg Simmell and Karl Marx and Slavoj Zizek
to Antonio Gramsci , Max Weber, Pierre Bourdieu,
Georg Steiner but also Italo Calvino and Jorge Luis
Borges.
n  His ethic was also inspired by Albert Camus: “I rebel
therefore I am”
Bauman said: “I learned how to rebel through being
armed with sociological tools, and how to trnsform the
vocation of sociologist into a life of rebellion ´
n  “The Human Cost of Globalisation” (1999) denounces
social inequalities up to his last essay in 2014, “Do Riches
help everyone?”
n  Authored 57 Books and over a hundred articles on themes
of globalisation, modernity and postmodernity,
consumerism and ethics.:
n  “Thinking Socilogically” (1990)
n  “Liquid Love” (2003)
n  “Liquid Times” (2007)
n  “Liquid Fear” (2006)
n  “The Art of Life” (2008)
22
Zygmunt Baumann  Bauman, following Freud came to view European
modernity as a trade off:
n  European society, he argued, had agreed to forego a level
of freedom to receive the benefits of increased individual
security.
n  Bauman argued that modernity, in what he later came to
term its 'solid' form, involved removing unknowns and
uncertainties. It involved control over nature, hierarchical
bureaucracy, rules and regulations, control and
categorisation - all of which attempted to gradually
remove personal insecurities, making the chaotic aspects
of human life appear well-ordered and familiar.
n  “Modernity and the Holocaust” attempts to give a full
account of the dangers of those kinds of fears. Drawing
upon Hannah Arendt and Theodor Adorno’s books on
totalitarianism and the Enlightenment, Bauman developed
the argument that the Holocaust should not simply be
considered to be an event in Jewish history, nor a
regression to pre-modern barbarism.
n  Rather, he argued, the Holocaust should be seen as
deeply connected to modernity and its order-making
efforts. Procedural rationality, the division of labour into
smaller and smaller tasks, the taxonomic categorisation of
different species, and the tendency to view obedience to
rules as morally good, all played their role in the
Holocaust coming to pass.
n  He argued that for this reason modern societies have not
fully grasped the lessons of the Holocaust; it tends to be
viewed, to use Bauman's metaphor like a picture hanging
on the wall, offering few lessons. In Bauman's analysis the
Jews became 'strangers' par excellence in Europe.The
Final Solution was pictured by him as an extreme example
of the attempt made by society to excise the
uncomfortable and indeterminate elements that exist
within it.
23
Timothy J. Clark
n  b. Bristol 1943
n  Studied at Cambridge University,The Courtauld Institute
and the Sorbonne, Paris. For a brief period in the 1970s,
Clark was a member of the Situationist International
n  Thesis on Courbet: “Image of the People: Gustave
Courbet and the 1848 Revolution.“(1973); “The Absolute
Bourgeois: Artists and Politics and the Second Fench
Republic 1848-1851”(1973).
n  Taught at UCLA, Los Angeles (1974-76)
n  Professor of Art History at the University of Leeds
(1975-1977)
n  1980 - joined the Department of Art History at Harvard
University.
n  In 1982 he published an essay, “Clement Greenberg’s
Theory of Art", critical of prevailing Modernist theory,
which prompted a notable and pointed exchange with
Michael Fried. This exchange contributed to the debate
between formalist and social histories of art.
n  In 1988 he joined the faculty at the University of California,
Berkeley, where he held the George C. and Helen N.
Pardee Chair as Professor of Modern Art until his
retirement in 2010, when he returned to London.
n  Major Marxist thinker on French 19th-century art in its
social context, with key books on Courbet, and Manet:
“The Painting of Modern Life: Paris in the Art of Manet
and his Followers”.(1985); but also on Poussin, Pollock
and Modernism; “Farewell to an Idea: Episodes from a
History of Modernism”.(1999); “The Sight of Death: An
Experiment in Art Writing”.(2006); And “Picasso and
Truth: From Cubism to Guernica” (2013).
24
Griselda Pollock
n  B. 1949 in S. Africa and grew up in Canada
n  Studied at Oxford, The Courtauld Institute (Doctorate on
Van Gogh)
n  Professor of the Social and Critical Histories of Art at The
University of Leeds
n  a visual theorist, cultural analyst and scholar of
international, postcolonial and feminist studies in the
visual arts.
n  In “Modernity and the spaces of Femininity”, Pollock
takes issue with T.J.Clark’s analysis of Manet’s “Bar at
the Folies Bergère” (1881-2 Courtauld Institute) for
underestimating the relationship between sexuality,
masculine power and modernism: She questions why, ”..it
is normal to see paintings of women’s bodies as the
territory across which men artists claim their modernity
and compete for leadership of the avant-garde..” (Feagin
& Maynard,1997, p133).
n  Her work has consistently addressed the often
unacknowledged rôle of women artists in history: notably
“Old Mistresses: Women, Art and Ideology” (1981)
n  Her engagement with psychoanalysis, structuralism and
post-structuralism through Julia Kristeva and Bracha
Lichtenburg-Ettinger to Jacques Derrida and Michel
Foucault, has led to major works such as: “Vision and
Difference” (1988), “Avant-Gardes and Partisans
Reviewed” (1996 with Fred Orton ), “Mary Cassatt,
Painter of Modern Women” (1998)“Differencing the
Canon: Feminism and the Histories of Art” (1999), and
“Looking Back to the Future: Essays by Griselda Pollock
from the 1990s” |(2000).
Grselda Pollock outside the Clothworkers’ Court, The University of Leeds.
25
Terry Atkinson - Art & Language
n  UK’s leading conceptual artist
n  Co-founder of “Art & Language” - artists’
group and theoretical journal.
n  Theoretician following Wittgenstein,
Russell, Derrida and Chomsky.
n  Interested in theories of mind and
consciousness
n  Politically engaged artist
n  Formerly, Reader in the Rhetorics and
Practices of Art at The University of Leeds
n  Terry Atkinson, “Works 1977-1983”, Whitechapel Art Gallery,
1983. ISBN 0 85488 060 7;
n  John Roberts, “Approaches to Realism”, Bluecoat Gallery
Liverpool, 1990;
n  T.Atkinson, ‘Beholding Courbet from the side’, Oxford Art Journal,
Vol. 15, No 1, 1992.
n  Terry Atkinson, “Ruses, Mutes, Monochromes and Bombers”,
Galerie Patricia Asbaek, Copenhagen, 1992. ISBN 87-8822332-9
“Enola Gay Mute I” (1990), Coll. Ungers, Köln
26
Thinking Through Art
n  ed. Katie MacLeod and Lin Holdridge.
n  Survey of critical formulations of a Ph.D
in art Practice.
n  Questions of Art and Epistemology
n  Focuses on art produced in higher
educational environments and considers
how the material product comes about
through a process of conceiving and
giving form to abstract thought. It further
examines how this form, which is
research art sits uneasily within academic
circles, and yet is uniquely situated
outside the gallery system.
n  Contains “Concrete Abstractions and
intersemiotic translations: the legacy of
Della Volpe” by K.G. Hay, and chapters
by Leeds students Liz Price and Milos
Rankovic about the ethos and structure
of the Leeds Ph.D, which was set up by
K.G.Hay.
27
“On Making.” University of Johannesburg, SA
•  “On Making: Integrating approaches
to Practice-Led Research in Art and
Design”, ed Leora Farber, UNISA,
SA (2010).
•  International Survey of Ph.D in art
Practice programmes and theories.
•  Includes Chapter “Thinking outside
the Box: Appraising art practice as
research” by K.G.Hay.
•  Web-link: https://leeds.academia.edu/
KennethHay