Dr Leon B

So, this is cool. Researchers at the Courtauld discover that Helen Saunders's Vorticist work, 'Atlantic City' reproduced in BLAST #2 (1915), is UNDERNEATH Wyndham Lewis's 'Praxitella' (1921). X-rays reveal that Saunders's work was inverted (3rd pic) assets.courtauld.ac.uk/wp-content/upl…

@dieworkwear Speaking of handmade: I'm just reading your article on loafers putthison.com/finding-the-pe… and wondered if you had advice on what questions to ask a shoemaker to get an idea of quality. I'm specifically looking at Alessandro Gasparini's 'moccaso'. Any thoughts appreciated.

So while, yes, technology will creep into factories and make the work more "comfortable," many will also deskill the process of producing clothes, putting downward pressure on wages, and place many garment people out of work. I don't think that's necessarily a good thing.

It's true there's a lot of automation in garment production—and there stands to be a lot more. Let me show you some of the technologies. And what this could mean for American labor. 🧵

@ahistoryinart Interesting! Who made the 'Hogarthian' observation?

'The Party.' (1971) Modern life in all its varying forms inspired William Roberts from the very beginning of his career. A host of familiar settings and activities served as the subjects for his multi-figural compositions as he depicted life in with what has been described as an unflinching Hogarthian eye. For Roberts, this was the central aim of painting, as he stated later in his life: ‘the artist who tells no more of his life and times, than a collection of abstract designs, might as well never have been born.'

The James Webb Space Telescope has started capturing images of galaxies so far away that they are causally disconnected from the Earth — nothing done here or there could ever interact. 🧵 1/

The one American at a European academic conference

@ajbwells There's a little bit in Isherwood's Goodbye to Berlin; Dino Buzzati's short story: 'sette piani'; Blai Bonet's 'el Mar'...

Programme recently announced for Futurism in Progress Symposium at the Estorick Collection of Modern Italian Art, 20 February. Details here: estorickcollection.com/news/2024/01/0…

They rode on.

🚨 Image fees and UK museums - a breakthrough moment. The system is collapsing. There is now no reason to pay fees for historic artworks (2D) in most cases. The UK's art history tax is over. Scholars, the public *and museums* will be better off. A 🧵

JFC... so depressing. Solidarity to all those confronted with this vandalism

Some great passages being shared on the TL. Blood Meridian is prolly my alltime favourite reading experience. I devoured Child of God just last week, highlighting thruout. "Mayhaps the bird felt it too. It flew. Small. Tiny. Gone". RIP CM.

I asked the National Gallery how much money they make from image fees (the licensing cost if you want to publish works in their collection). After initially refusing to answer, they confirmed that actually they lose money. 1/3

Today and tomorrow, @mPICASSOm presents a modern sculpture symposium alongside its exhibition 'Picasso and Sculpture: Matter and Body' (runs to 9 Sept). I'm speaking tomorrow, at 6pm CEST, on the 'apartness' of modern sculpture. Sign up here: museopicassomalaga.org/en/actividades…

Well, yes and no

I haven’t done a #TheatreEtiquette thread for a while, but for those who don’t know, my book The Reasonable Audience is all about ‘bad behaviour’ in theatres & how it gets policed. This thread explains how we got here, and why I think we’re going to be seeing more of this. 🧵

Book recommendation 🎨📖 Making Modernism: Paula Modersohn-Becker, Käthe Kollwitz, Gabriele Münter and Marianne Werefkin amzn.to/3FYxKsR

@becimay Nice! There also lies a sham 'me', I suppose.

Moore, by twining ‘chameleon’ around em/me, lets you see a lion 🦁

How I write an essay.

@GreenBowlerHat Cool AF

'Full English’, Rock Steady Eddie's, Coldharbour Lane, Camberwell || 2006 || Ed Gray edgrayart.com