On 20 February artist Grace Adam will lead a gallery tour of the Jane Morris centenary display in Room 28 at the NPG. I’ve no idea what to expect, but here is an extract from Grace’s artistic statement, which says her own work explores
“notions of what can be beautiful and where. How do we negotiate and influence our domestic and wider environments? How we interpret contemporary and historical ideas of beauty is being tested through a series of pieces whose surfaces crawl, bulge or sit awkwardly.”
And here are a couple of examples of her artwork.
With her image and lifestory inspiring those beyond the immediate Pre-Raphaelite fanbase, suddenly, it seems to me, Janey is acquiring the kind of cultural afterlife that Lizzie has so long enjoyed [or endured, in some cases].
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I’ve also just received proofs for ROSSETTI’S OBSESSION, the forthcoming exhibition at Cartwright Hall in Bradford, itself another manifestation of romantic afterlives, opening in March.