|
Editorial
|
p. 3
|
|
Katharine Eustace, Editor
|
|
|
DOI:
10.3828/sj.2012.11
|
|
|
|
|
|
‘The New British Sculpture: reviewing the persistence of an idea’ Henry Moore Institute, Leeds
17-18 February 2011
|
p. 7
|
|
Jon Wood
|
|
|
DOI:
10.3828/sj.2012.12
|
|
|
|
|
|
Ezra Pound's new order of artists: ‘The New Sculpture’ and the critical formation of a sculptural
avant-garde in early twentieth-century Britain
|
p. 9
|
|
Sarah Victoria Turner
|
|
|
DOI:
10.3828/sj.2012.13
|
|
|
|
|
|
The New (British) Sculpture and the struggle for realism between the wars
|
p. 23
|
|
Jonathan Black
|
|
|
DOI:
10.3828/sj.2012.14
|
|
|
|
|
|
A coherent, national ‘school’ of sculpture? Constructing post-war New British Sculpture through
exhibition practices
|
p. 37
|
|
Jennifer Powell
|
|
|
DOI:
10.3828/sj.2012.15
|
|
|
|
|
|
Caro in the 1960s and the persistent object of sculpture
|
p. 51
|
|
Alex Potts
|
|
|
DOI:
10.3828/sj.2012.16
|
|
|
|
|
|
The New Art, Hayward Gallery, London, 1972: new as compromise, or when what happens around
the exhibition is as interesting as what happens in the exhibition
|
p. 63
|
|
Joy Sleeman
|
|
|
DOI:
10.3828/sj.2012.17
|
|
|
|
|
|
Managing the reputations of the New British Sculptors
|
p. 75
|
|
Nick Baker
|
|
|
DOI:
10.3828/sj.2012.18
|
|
|
|
|
|
‘Mapping the practice and profession of sculpture in Britain and Ireland, 1851-1951’ Victoria
and Albert Museum, London 25-26 February 2011
|
p. 85
|
|
Marjorie Trusted, Alison Yarrington
|
|
|
DOI:
10.3828/sj.2012.19
|
|
|
|
|
|
Mapping Sculpture in context: art history in an online environment
|
p. 87
|
|
Ann Compton
|
|
|
DOI:
10.3828/sj.2012.20
|
|
|
|
|
|
Reflecting on the technical development of the
Mapping Sculpture project
|
p. 99
|
|
Ian G. Anderson, Matthew Barr
|
|
|
DOI:
10.3828/sj.2012.21
|
|
|
|
|
|
‘Mason's work in all its branches’: an introduction to the Earles and the Keyworths of Kingston-upon-Hull
|
p. 109
|
|
G. M. Mulcahy
|
|
|
DOI:
10.3828/sj.2012.22
|
|
|
|
|
|
‘Art workers’: education and professional advancement in sculpture and the stone trades
c.1850-1900
|
p. 119
|
|
Ann Compton
|
|
|
DOI:
10.3828/sj.2012.23
|
|
|
|
|
|
The Leicester Galleries and the promotion of modernist sculpture in London, 1902-1975
|
p. 131
|
|
Evelyn Silber
|
|
|
DOI:
10.3828/sj.2012.24
|
|
|
|
|
|
Neither Irish nor British: the identities of sculpture in Northern Ireland, 1921-1951
|
p. 145
|
|
Emma McVeigh
|
|
|
DOI:
10.3828/sj.2012.25
|
|
|
|
|
|
Sculptors and architects - two Scottish case studies
|
p. 157
|
|
Louise Boreham
|
|
|
DOI:
10.3828/sj.2012.26
|
|
|
|
|
|
‘At the Exhibition’: the 1948 open-air sculpture exhibition, Battersea Park, in British fashion
magazines
|
p. 169
|
|
Felice McDowell
|
|
|
DOI:
10.3828/sj.2012.27
|
|
|
|
|
|
Reviews
|
p. 183
|
|
DOI:
10.3828/sj.2012.28
|
|
|
|
|