Abstract
This article considers Walter Sickert’s Miss Earhart’s Arrival (1932) in relation to contemporary discourses on heavier-than-air flight. I look at the negotiation of the future in paint, and through discourse analysis of its reception I conclude that Arrival questions the capacities of new technologies. By examining a cross-medium practice concerned with transcribing found press images of historic events, I situate this work in my larger argument that Sickert’s late work offers us perspectives on painting’s mediation of changing interwar notions of historical time, Utopia/dystopia, and the capacity of paint to critically engage technologies of memory and transit, both materially and temporally.
Original language | English |
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Pages (from-to) | 1-24 |
Number of pages | 24 |
Journal | Visual Culture in Britain |
Volume | 16 |
Issue number | 1 |
DOIs | |
Publication status | Published - 13 Feb 2015 |
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Merlyn Seller
- Edinburgh College of Art - Lecturer in Design and Screen Cultures
- Design
Person: Academic: Research Active